Tempest, The

1943

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THE TEMPEST

Screen Play

A Jean Renoir - Dudley Nichols Production

APRI~.17,

19'13

...

I
'

THIS IS THE PROPERTY

of

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780 North Gower St.
Hollywood

Please return promptly to

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when you have finished with it.

THE TEMPEST

ESTIMATING

4/17/43

57

.-------------------------------------------------------------------------------------4/17/43

57

Received f rorn

RKO

RADIO

PICTURES,

THE TEMPEST

ESTIMATING

INC.

T::m TEMPEST

FADE

IN - 1)AY

FULL SHOT - A LIHnUSI:NE EOLLIlJG along a highway that

edges the sea. Beyond the car we see gulls circling

above a small freighter that is steaming seaward" black
smoke trailins astern. Very early morning.
LAP:
2

LIMOUSINE drawing up in front of a courthouse. A

distinguished-looking man of fifty, w~!om 1[le shall later
on learn to be Dr. Erik Jlmeson, steps out and goes up
the steps, entering the courthouse.

THE

LAP:
3

I:Wr. m.1PTY COTJRTROot!I. A janitor is sweeping up, court

not yet being in session. Dr. JD.meson enters from
corridor, drawing off his Gloves. Now for the first
time we see him in near view and can observe the strengtl:
and intelligence of his rGther handsome face. He speaks
in a very crisp and oultivated voice to the, janitor who
is going out.

:m.
Has

JA~lESON

Judge Randolph aI'rived?

JA!JI'rOR
Yes, I:.'. Jameson. He's in his
cha...'1lbers.
Indicates a door at roar of courtroom, and then passes
out into cOI'ridor. DI'. JG.2.IGson, on his way to the rear
door, stops in front of t~e rail that closes off the
judge's 1;enc11., his attention caught by the statue of
JusticG, blindfold. e.nd with b.eI' scales, whic}' is set in
a niche behind the jUdge's bench. He studies it for a .
momcnt profoundl:r and t};'311, coming to some strange
decision, gOGS on and opens the door of tho judgo's
private chambers.
4.

gh

INT. JUDG:;];'S C~i.A::K_mS. As Dr. JC'.meson enters Judge

Randolph, a fine-looking dignifiod ill&n of sixty,
obViously of the samE) type rond class i.S the (Joctor; look:
up from his desk vlherd he is going ovor a brief. Throug]
the wide window be>.ind tho judge we see the SOH
stretching out to tho lwrizon and the trailing smoke of
the little freigb.ter.

( e n FT
"-,_J

l'J'TTr:'D)

-'-.L ' ,..' _

4 (CONTINUED)
JUDGE RANDOLPH
Good morning, Erik.

DR. JAI\:IESON
How are you, Henry.
The .judge rises and shakes hands wi th him. We see they
are old and trusted friends. Randolph scans his face,
seeing something of moment in that grave face.
Indicates a chair for Jameson to sit down.
JUDGE RANDOLPH
Something on your mind? Isn't
Monica well?
DR. JAMESON
She had an accident o lIve
jus t come from the hospi tal.
JUDGE RANDOLPH
I hope it's not serious.
DR. JAMESON
(shakes his head,
strangely qUiet)
I'm no longer worried about my
wife, Henry - She is no longer
in danger.
JUDGE RANDOLPH
(looks at him
queerly)
What's wrong, then?
DR. JAMESON
(quietly)
It's a matter of justice. I'm
surrendering myself to your
custody - I have committed a
crime.
As the jUdge looks at him with speechless astonishment
and sees he is deadly serious we DISSOLVE
5

nd

LONG SHOT OF A PRISON - NIGHT. Just high stone walls,

with corner buttresses, guards with rifles silhouetted
against the night sky. Suddenly a siren is heard, then
another, then a third, rising from growls to a screaming
pi tch. Searchlights jab into the sky, from one ,;vall,
then another. As tho beams of light crisscross and
search the dar'kness, sirens screaming LAP

LONELY HIGIDVAY. Two headlights knife through the

darkness and then we see a police car come racirlg
around a curve and pass camera -

INT. POLICE CAR. Dimly we see two state policemen in

the front seat, the light of the panel radio etching
their facas. The police radio is speaking staccato:

RADIO
believed to be heading south
toward the city. The escaped
convict, Paul Legrand is thirtytwo years old, has light hair,
blue eyes, and can be easily
identified by his French accent -DISSOLVE

nd

SEASHOHE - NIGHT. CLOSE SHOT of big breakers rolling in

and crashing on the beach with the spray flying past
camera. The wind is blowing a gale -

LONG SHOT - LIGH'YrlOUSE 'l'OWER by the sea (MINIA TURE).

The wind whistles and whines as we see the beam of light
sweep the stormy sea and flick for a second into the
eye of the cmnera -

10

CLOSE SHOT - T.JICE-ITI-IOUSE TOWER. The keeper, in oilskins,

clings to the iron rail that encircles the platform just
under the revolving light. He braces himself against
the gale, peering seaward (past camera) and rain slashes
into his face. We see the downpour of rain, the drops
very bright, as the light revolves around past him p just
overhead -

11

LONG SHOT - SHIP AT SEA OUNIATCRE). It is a freighter,

wallowing in the tempestuous sea - The beam of the
lighthouse illurninates it rnomentar'ily and then it is
hardly visible in darkness -

12

CLOSE SHOT - FREIGHTER - as she dips down in a trough and

the bow comes up neal'"' camera the lighthouse beam comes
on it again and we can for an instant see the name of
the ship - VILLE DE BORDEAUX.

13

SEASHORE - SHOOTING DOWN the length of the beach in the

rain and darkness we see and hear the great breakers
thundering in -

14

LONG SHOT OF A PINE WOOD beside the sea. SHOOTING UPWARD

we silhouette the nearer trees against the dark sky, the
trees threshing and groaning in the whistling wind -

nd

15

CLOSE SHOT - PI~~ TOPS thrashing in tho gale, bending

and whipping. Sound of the tempest.

16

EDGE OF PIrm WOOD - NEAR SHOT of a great pine tree as it

goes crashing down in the gale.

17

LONG SHOT of a lonely barn. A tree beside it crashes to

. the ground. Above the roar of the tempes t we hear a
heavy door swinging and crashing on its hinges -

18

NEARER SHOT of the door being jerked back and forth

violently by the wind, crashing each time against timbcrs~
SUddenly it is ripped from its hinges and goes crashing
off with the gale. The next moment the dark figure of a
man emerges from the open barn door and runs past crunera
into the darlmoss of tho storm -

19

ROAD T1IAT WINDS ALONG TBE SEA. We soe the unknown man
come running up to the highway, stop, look both ways
uncertainly in the darkness, and then start walking
SWiftly to the right along the road -

20

HIGHWAY - CLOSE MOVING SHOT BEHIND TJrE UNKtWWH MAN. It

is not raining now but the wind is howling, he has to
brace himself against it. Then SUddenly the beam of a
motor carTs headlights finger around a curve in the road
ahead. TIle man stops abruptly as the light comes
sweeping apound. For an instant he is silhouetted against
the growing light. Then quickly he gets off the road
and -

21

CLOSE SHOT at side of road as he crouchos down behind a

bush at roadside. Vie see the beam of light coming now
and growing stronger. Just ahead the high tide made by
the gale covers a low point of the highway and as the
car comes rushing toward us it hits the water and sends
whi to spr'ay high into the air. Ti1.en the car is past and
the man gets up and steps back to highway -

22

lVIED. LONG SHOT - PINE WOOD beside the sea. The trees are
threshing and groaning. The unknown man enters from
behind camera and goes into the wood -

23

INT. PINE WOOD - Ti1.e man is coming tovvard carnera among

the groaning trees when vre hear a spli tting sound, he
jumps back and a tree crashes right in front of C~lera,
shutting him from view LAP

2 Ll

5
CLOSE SHOT on some shru bber y. It is fOrll1 Ql,
comp ared with the uncu ltiva ted vlild ness of natu
we have seen . It too is torn and shak en by the re
wind
whic h shine s and howl s in the nigh t. But sUdd enly
there
is a grea ter move ment in the mids t of the clum p
and
the
ill~k nown man come s throu gh it and stop
s clos e into
came ra and for the firs t time we diml y see his
1~ac eas
he peers throu gh the storm y nigh t at:

25

REVERSE - LONG SHOT of a fairl y large s tonG hous

surro unde d by trees and shru bber y. All its larg e,
e
windo ws are dark exce pt at the rear wher e the kitch
windo ws are brig ht. A drive way wind s in from the en
shor e
road to the fron t of the hous e. All a t once we
see
the
head light s of a car as it turns into drive way and
move
s
aroun d towa rd the ligh ted windo vls of the ki tchen
at
rear - (soun d of temp est)

26

CLOSE SEW T - THE UNKNOWN MAN. He draw s back in

to
shel ter of the whip ping shrub bery - (soun d of tempthe
est)

27

REAR OF HOUSE - WIDE ANGLE takin g in ligh ted wind

kitch en, the smal l porc h at rear , and the moto r ows of
car whic h
drive s in close to porc h and stop s, its head light
s
brig ht in the dark ness .
The kitch en ligh ts are turne d
off and we see a woma n, wear ing a hat and rain coat
,
come out of ki tehen door and lock it. She hurr
ies to
the car - (soun d of storm )

28

IN FRONT OF CAR'S HEADLIGHTS.

The woma n come s hurr ying
in towa rd car, comi ng throu gh the glar e of the
head ligh ts,
and we glim pse her face - rath er bold and attra
ctiv
e.
It is Iren e, the maid whom we shal l late r know .
She
hurr iedly climb s into the car and it dr'iv es off-

29

CLUMP OF SHRUBBERY - CLOSE SHOT ON FACE OF THE

UNIU~
half- hidd en by the leav es. Soun d of car in low OWN
gear
ming les with the wail of the temp est.
Then the
head light s of the car throw a grow ing glare dire
ctly on
his face and he swif tly draw s back into conc ealm
ent as
the car swin gs round and pass es. As he is in storm
y
darkn ess agai n, he emer ges in the dim ligh t, and
as
sound of car dies away he step s out and move s towa
rd ~~N

30

EXT. - REAR PORCH.

The unkno wn man stea l thil:T come s up
on porc h, tries the door , flnd s it lock ed.
Tries wind ow.
Also lock ed. He searc hes and find s a gard enin g
(We have seen enou gh of this unkno wn stran ger to tool recog nize some thing stran gely attra ctiv e abou t
him - a
stren gth, an anim al-li ke grace of move ment that
grea t phys ical powe r, and an inten se adve nturo us sugg ests
face
with unfo rgett able eyes , whic h have a dang erous
ligh
them . Some how he has cont rived to get a good suit t in
o~
cloth es and is clean shav en;)

31

IHT. DARK KI TCHEN OF JAMESON HOUSE - SHOOTING

THROUGH a window, Vie see the silhouette of Legrand as

he enters stealthily and tries to force the window

open. But it is locked. As he vanishes, dimly seen
agains t the bending trees., CAMERA PANS to another
window and again he tries it. He pries at it and
there is a snap as the lock gives way. Stealthily he
opens the window and climbs into the kitchen.
Reconnoitering, he strikes a match which blows out in a
gust from the window. But the glimpse has satisfied
him and he slides the window shut, silently.
Then
strikes a second match, looks around, spots the icebox,
but first goes over to try the latch on the kitchen
door. It is a spring latch and the door opens easily
from within. Satisfied he can get out quickly he goes
over in the darkness and opens the frigidaire.
Instantly
the light from the icebox illuminates his faco brightlyo
Indoed it throws enough light to illuminate the whole
kitchen, though leaving massive shadows. Methodically
he examines the contents of the icebox and removes the
remains of a roast from the icebox, sets it on a small
table and begins eating, luaving trlli icebox door open
for light. He is ravenous. But SUddenly he hears a
sound we do not hear and instantly he turns and listens,
hardly breathing, his ears keen as a hunted animalts.
Finally he is ~Gassured and starts to eat again when
there is a pier~inG scream of a woman from within the
depths of the houso~ He galvanizes, puts down the
meat, ready to jump for the door. Another scream, more
terrified, and. 10 Ewing the icebox door open he s tar'ts
for the kitchen door.
(COl'J'J:'INlJJ:W)

31 (CONTI1lUED)

He is half out of the door ~len a girl in Q drossinc

gown, her face white with terror, comes dashina int~ th~
kitchen and, in a frantic effort to escape outOtl1e doo;~
she sees Legrand apparently coming in to her cid. With
a cry of terror she seizes his arr..l and crouches agains . .
him for protec~ion! just as ~ man wbo is in pursuit of I,.
her comes runnlng lnto the kltchen with an automatic in
his hand. Legrand gives the gir-l a hard. shove and she
falls against the wall as he springs at the man with the
gun and hits him on the jaw in the same motion. The
marauder, a" well-dressed rather handsome man, staggers
from the blow and the automatic clatters from his hana..
Both men spring for the weapon. There is a hard savage
fight, Legrand gets the gun, and the marauder escapes out
the door. Legrand is aiming &t him but does not shoot.
He has acted instinctively, without thought. Now,
breathing heavily" he has only one idea, to get a'v'lay
himself. Also he is glad to have the gun. He starts out,
but stops to look at the girl vl110 is sprawled unconscious"
on the floor where she fell.
32

CLOSE TWO SHOT. Monica Jameson is a beautiful woman in

her late twenties. Legrand wants to escape but something
in the helpless attitude of this woman, the Qelicacy of
her boauty, arrests him, keeps him looking at her against
all his instincts for self-preservation. Suddenly he
stoops dOVTn and tries to rouse her. For the first ti.rne
we hear his accent 2.nd know beyond all doubt he is the
escaped convict.

I'm sorry.

PAUL

I didn't uean to hurt you.

There is no stir nor answer and, acting almost

automatically, against all thought of his own safety, he
picks her up in his arms and goes into tho other room 33

INT. R~LL. The staircase is diuly lighted by the light

from a bedroom doorvmy above. Vie seEl Legr!nd carry the
woman up the steps -

34

INT. MONICA'S BEDROOM. He enters and lays her c8.refully

on the bed. He rubs her wrists and speaks softly to her
again, worried.
PAUL
Don't be afraid. I won't hurt you.

gh

But she doesn't stir. NoVT his instincts of esee-po for

hi:(i'1self come to the fore,. cilld he looks 8"round uneusily,
sees a telephone that has dropped to the floor beside the
bed in the woman's attempts to reach it. He picks it up,
sets it on the bedside tQble, puts the receiver to nis
ear' and listens a moment, then lays it carefully back.
It is the telephone that makes him realize he hed better
get out of there quickly, perhaps someone has heard.
( CON~;r:NUED)

34

( CO lfT DfCIED )

The woman stirs and moans

terro r in her voic o.

h~lf-conscious1y,

a kind of

f.![ONICA
Fath er!

Fc.th er!

Quic kly Paul star ts for the hall door , to esca pe befo
re
she becom es cons ciou s, but as he reach es the door
the
girl moan s fran tical ly:
HONICA (con tfd)
Wait 1 Don' t leave mel

Fath er!
35

CLOSE SHOT ON PAUL'S BACK as he halts in c1oorw

Befo re him lies the stair way and esca pe. But 8.Y.
the girl 's
moan ing voice hold s him.
Don' t gol

MONICA'S VOICE
Fath er I

Slow ly he turns and looks uroun d INTO CA~mRA and agai

n
some thing abou t this beau tiful , de1ic lte, help
less
woma
n
draw s him. He goes buck -

36

MED. SHOT MONICA on the bed, strug s1in g out of her coma
now, as Pau1 como s back and loens over her, look
at
her with stran ge curi osity . Some old reme mber ed ing
terro
rs
aI"'e in her fE:\ce now, not mero 1y the frigh t of her
enco unto r with the burg lar. He leans clos 0, murm uring
reas surin gly.
PAUL
You' re all righ t. Don' t be &fra id.
I'm going now.
At that moment cons cious ness retu rns, but a daze helf
unre al cons ciou snes s, and with a cry she begin s d
cryin g as
she puts her al~S aroun d him.
Fathe l'" 1

MONICA
Oh, I thoug.,."J.t

Then her eyes open wide ~md she flinc hes bEe.ck at sigh
t of'
She look s as if she is going to screa m
and Paul is frigh tene d, D.nd he speak s swif tly cnd.
reas surin gly.
a stran ge man.

PAUL
It's all righ t, don' t be afra id.
You' re quite side She draw s tho wrap per clos ely 8.bout her thro[ 1.t, st:':>.
ring
at him 0. littl e wild ly as sho whis pers:
Who arc you?
gh

MONICA

56 (CONTINUED)
PAUL

My name is Paul (hositates,

then goes on
reassuringly)
I heard your scream.
We see by her eyes that it all returns to her now.

MONICA
Yes - you cmne in the kitchen door -

(lool::s around
r.pprohensively)
Whero is he?
PAUL

Don't be afraid - he's gone.

(puzzled himself)
Who was it?

MONICA
don't know. .J.. woke up and he
was in this room (shivers)
He had a gun.
I

'-

I know.

PAUL
I took i t r.. wf~.y from him -

(takes it out
of his pocket
o.nd offol'S it
.to her for
rOllssurnnce)
Hero, trJ::e it. - Then you won't
be afraid.

But the gun terrifios her c.nd sho flinches

['~Wt.y

from it.

HONIOA
No. No.
PATTL

Is

YOUl'

f8.thor IJxmy?

Thero is a str8nge roaction in hor face at the word

fathar again. ~le looks ct him, her eyes dilating, as
she whispers:

My father?

MONICA
PAUL

I meun, are you alone?

MONIOA

(noels, \iTr~ tching

him ',vi th wide
eyes')
I 1st Irene go to town~
:,nother 5.s ill.
gh

Her

(CONs:,n'luED)

36.

(CONTI1TUED)
PAUL

Irene?
MONICA
My maid (puts her hand
to her forehead
as if trying to
collect her
thoughts}
I took a sleep~ng tablet (with the
expression of
a guilty child)
Vlhen my husband's home I'm not
allowed to ta1{e them. He won I t
even have them in the house I borrowed them from Irene.

Paul is attracted by the beauty and strangeness of this

girl but his eyes flicker at the mention of her husband"
and he is 5erlced back to reality - he must escape.
PAUL

Your husband shouldn't leave

you alone. A house like this"
all by"itself" attracts thieves.
(looks casually
at tel.ephone)
Did you phone the police?

MONICA
(shakes her head
apprehensive ly)
I tried to.
I didn't get the
operator.
PAUL

(relieved)
Well, you're all right now.
must go.
(offers his hand,
with a smile)
Go back to sleeD. Don't be
afraid.
-

But she clings to his hand, looking frightened again as

she gets- up nervously.
MONICA
I'm frightened.

PAUL
Of what?
MONICA
(wi th dread)
That thief. If he comes back.
pl-c

(CONTINUED)

II

36

(CONTINUED)

PAUL

(with the sureness

of a man who l{nows)
He won't come back. They never
come back - he'll think I was
your husband.
(smiles)
A thief would be a fool to hang
around here after the way you
screamed.
(pats his pocket)
BesIdes" I've got his gun.
MONICA
(anxiously)
But how did he get in?
PAUL

(with a sense
of humor)
If somebody didn't let him in
the f'ront door the chances are
he broke in a kitchen window.
It isn't hard if you know how
to do it.
MONICA
Are you a detective?
PAUL
(shakes his bead)
I'm a mechanic.
(wi th a fa.in t smi Ie)
I know windows. Come on" I don't
W8.nt you to worry - We'll find
out how this thief got in.
He starts for the door and she follows him" her face
lighting up with relief 37

EXT. - LONG SHOT HOUSE. We see the windows of room

after room blazes into brightne'ss 1 firs t ups te.irs" then
downstairs - all except the kitchen at rear -

38

INT. KITilliEN. ~le icebox door is still open and it dimly

illuminates the room where the fight took place. Paul
enters wi th Monica who swi tcJ:ws on the ligh t. Instantly
the room is blazing bright. Paul steps to the window
through whlch ho hil~solf Emtered f1nd slides it up 1
Monica watching anXiously.
PAUL

(triumphantly)
You see?

MONICA
Irene must have left it unlocked.
pk

(CONTINUED)

PAUL

(examining)
No, the lock is snapped. I told
you they're not strong. Just a
little prying (~rom the outside
o~ the window
sill he picks up
a gardening tool
a couple o~ ~eet long)
Here's what he used& See?
MONICA
(as he shuts window,
anxiously)
I'd b8ttcr c8ll the policeo
PAUL

No, no - I'll

~ix

ito

He jams the gardening tool between the two window sashes

so that the window cannot be opened again ~rom the
outside
He smiles at her reassuringly.
0

PAUL

That's better than a lock.

T:'1.0Y look around tIle 1>:1 tchen, a't the open icebox and
thon the m.e ~.t on tb.o table. Th8y look at each other
and he shrugs.

PAUL

Looks like 11.8 had a ID8slo

(steps over and
looks at the
meat, then picks
up e. ~ragment and
tastes it with
humor in his eyes,
hiding his real hunger)
Mmmrn. Irene?
I,lONICP.
(for the ~irst time
she smiles a little)
Yes, she can cook.
PAUL

(dryly)
Are you hungry?
I'm - I

fm

MONICA
nervous
0

PAUL

(quickly solicitous)
The bost thing for that is food.
(draws chair to table)
You si t down. Right here
0

(CONTn-nJED )

And he begins fixing the table, as she watches him

strangely. Quickly and adeptly, he has milk and other
things out of the icebox and onto the table. He pours
her a glass of milk and puts meat on her plate and is
already eating hQngrily.
PAUL

(as to a child)
You driru~ your milk.
But she only t8.kes a sip and fingers the glass, watching
him curiously 88 he eats vor8.ciously, pnying little
attention to her now.

MONICA
It's so strange
(eating)

PAUL

:Mm..m?

MONICA
I mean the way you suddenly appeared.
I wes so terrified - I didn't think
there was anybody within a mile of
our house - and then
(suddenly finding
it very curious)
Did you come in a c8r?
(he nods, eating
hungrily, as she
puzzles about it)
Were you coming to soe Dr. Jameson?
(he looks at her}
trying to figure
this one out)
My husband.
PAUL

(his eyes flicker;

he feels danger
in her sudden
curiosity; he
motions off vaguely,
his voice casual)
My car broke down - I lost my way.

MONICA
(watching him as
he goes on eating)
You're French, aren't you.
PAUL

(eating)
Mmmm.

MONICA
(a strange mood
possessing her)
I love France. I spent the
happiest years of my life in
Fr8.nce when when my fa the r
was living

CONTINUED)

MonicR falls silent, swept into memories of some personal

tragedy, her eyes strange.
PAUL

(curiously,
.
looks at her)
Your fDther' s dead?
(she nods, her
eyes suddenly
tragi c)
I thought at first he was in
the house.
MONICA
(looks at him,
startled)
Vrhat makes you say that?
PAUL

Because you were calling him for help.

She makes no reply.

Thon, after a moment, queerly.

MONICA
Somotimes I feel he is in the
house. ~nerever I am.

l)ii ur)

(studying her face)

I've never soen a woman like
you bGfore.
MONICA
(gravo ly)
I've nover met a man like you
bofore. Who are you?
PAUL

I told you. lIm a mechanic.

Who are you?
MONICA
Moni en Jame son.
PAUL

(repeats it as
if the sound
pleasod him,
watching her)
Monica ltls nice.
MONICA
(to dispel the
attraction she fools)
Havr;; you never he 8J'c1 of Dr. Jpmes on?'
He shakes his head, watching her.
MONICA (contld)
Hels a psychiatrist.
(CONTINUF..D )

.......

38 (CON':rINUED)
PAUL

(his brow puckers)

\VhD.t's that?
MONICA

He cures people who are ill here (she touches

her forehead)
PAUL

Crazy people?
TvWrHCA

(shakes her hea~)

Sick people. Aren't we all strange?
PAUL

Not me.
(deciding it's
time to go)
You drink your milk and get to bed.
EOlHCA

I'm not sleepy.

PAUL

Drink your milk.

hONIC.A
I'm not hungry.
PAUL

(like a stern parent)

You - drink - that - milk!
She drinks, very obe1iently, but stops half way.
PAUL (cont' (1)

Go on!

All of it!

She finishes the glass though it is an effort.

PAUL (cont'd.)
girll
(gets up and
puts out his hand)
Tell Irene thanks for the food.
Goodbye, I,i.onica.
GOOfl

As she lool{s at him, \)ren.ding to be alone again, the

lights sUd1enly go off - and she exclaims with fear.
PAUL

Don't be scared (~trikes a match

and. we soe them
again in the, flaring
light, liIonica
holding to his arm)
em

(OONTINUED)

16
38 (COHTINUED)
MONICA
~Vhat

(nervously)
is it - a fuse?

PAUL
They're off in the other rooD, too.
He looks aroun~ by the light of the mutch, sees a large
switcl1.box on the kitchen wall and goes to it ~39

CLOSE SHOT PAUL as he strilres another match, Monica

entering beside him as he opens tho box, and we see the
main switch and fuse boxo lIe opens and closes the
heavy knife switch without effect, thon peers at the
fuses.
PAUL
Looks like tho power's gone off.
H,ve you got a canrlle?
riiOHICA

They'ru in th0 living room.

'1'11.8 match is burning out and. he lights another:f rorn it,

and as it flares up he Boes townrrt living room, Monica

following 40

INT. LIVINU ROOI':l. It is in total darknoss as we soe

them entor, Paul holdin~ tho match. Monica leuds him to
a c:J.ndelabra and he liGhts the thl~oe candlos on the
living room table. '1'hen he lit;hts 0.110 thEn> 11180 tch and she
guides him OVG!' to the grtlllt1 piano and he lights another
three-branched call1l1estick. Now the roon is fairly
light.
PAUL
Now you're all right.
MONICA

Donlt leave rae until the police come.

PAUL
Police?
I\1QNICA

I'll telephono. They'll BOnn an officer I just can't be here alone tonight.
P}\.UIJ

(un':::8.sily)
What 8.rtJ you afraill of'?
hONICA
possossed
by unkrlO wn f Gar s )
I don It lmow. . Whon I feel like this
I just can'tbe alollo - I shouldn't
have let my maid go out.
(str~ngGly,

cm

(CON'l'INUED)

PAUL
(puzz led)
You' re very stran ge.
k0NIC A

(full of dread )
I begi n to livG it allo ver
again - at certa in time s.
livhat?

PAUL
BONIC A

Oh, I don' twun t to talk abou t it.

I must have somo one herG She move s to the telop hone and he follo ws her, very
unea sy.
PAUL

Wait - if souo thing 's worr ying you, Itll

stay hero till your maid come s back .
MONICA

(shak es he,ld )
Ir8ne ViTon' t r,)tu rn unti l morn ing.
She picks up r(;c01 V0I' Ilnd beGi ns dial ling . We see
dang erous chang e in Pn.ul 's fD,CO as hG come s in clos a
behin d h0r NEAR CAhl~l::A. Ho figh ts down an impu lso e
t0t::1.r tho telep honG out of hoI' hand . Ht.j look s liko to
trs.pp 6d aninw .l. SUdd enly he rOl:tc hcs out, but inste a
seizi ng the phon o, press Gs ~own thG switc h butto n, ad of
cutti ng the conn 0ctio n.
I'll st:J.y .

PAUL
LaNIC l'.

( surpr ised. )
Than k you - but why not cnll tho polic e?
PAUL

Don' t you trus t me?

FiONICA

(look s 8. t hir.l
curio usly )
It's very stri~ng8 - but I d.o.
(puts roce ivar back )
Usu8 .l1y I'm vory nervo us aroun d strnn gers aroun d anyon e I hnvo n't known for a long
time . That 's why we'r e livin g he~e. But
with you I fool vory SGcu re - I don' t know
why.
PAUL

cm

(smi les disar ming ly)

I'll tell you why - bucn uso we both love
FrdnC G. I'll tell you U SGcr ot - for
five yoar s I have thou ght abou t noth ing
but how to cot back to my coun try.

( CON'r nJUJ~D )

rliONICA
(looks at him
with surprise)
But is that so difficult?
PAUL
If you'ro not lucky - yes.
(smiles her
wonderment
aside)
Now be a good girl - Go up to
your room and go to sleep I'll stay hore and be your
policeman.
MONICA
But I'm wide awake. I couldn't
sloen. Shall we have some
music?

PAUL
(a little
wearily)
Sure.
MONICA
I'll try the radio.
PAUL
(hastily,
interceptlng
her)
No, no - not the radio.
(then, with
relief)
Anyway - the power is off.
MONICA
Oh, of course. I'll play for
you.
(goes to piano)
What kind of music do you like?

PAUL
I - uh - I like waltzes.
MONICA
(in a gay mood
now)
So do I.
She sits down at the plano and begins playing
beautifully a Chopin waltz. She is indeed a gifted
musician. Paul moves over to the piano.
41

ml

MED. CLOSE TWO SHOT as she plays wi th abandon and Paul

stands listening and watching her with a nuzzled face,
amazed by her skill but not understanding the music at
all. In fact he has never heard Chopin, it is music
from a world he has never glimpsed or known. She looks
up at him, playing, her face glOWing with a strange
happiness.
(CONTI~mED)

41

(CONTINUED)

10

You lik e it?

MONICA

PAUL
(no ds, a bi t
co nfu sed ly)
Is it a wa l t z ?
MONICA
(sp e ak ing the
word wi th lov e)
Ch op int
Oh - Fre nc h.

PAUL

MONICA
No. Po lis h. Bu t he too lov ed
He liv ed the re al l hi s lif e. Fr an ce .
(pl ay ing )
I alw ays thi nk of my fat he r
pla y th is - It was his fa vo when I
it make yo u dre am of thi rit e. Do es n't
ng s?
PAUL
(fu mb lin g ~t his own
fee lin gs , thi ng s ne ve r
aw ake ned in him be for e)
Yes . it' s lik e loo kin g ou
t of
a - a da rk cag e (hi s han ds gri"J:')
im ag ina ry ba rs,
lik e A. ur iso ne r
at a window)
-an d wa tch ing a bir d fly ing
it rai ns and it fli es away. - and the n
MONICA
(la ug hs de lig hte dly ,
pla yin g)
Bu t it is the ra in t Th at' s
came to- Co mp ose it. He was how Ch op in
w~iting fo r
somebody in the ra in .
Who?
Some~ody

PAUL
MONICA
he lov ed .

Sh e fin ish es the pie ce wi th

glo wi ng ly at his wo nd eri ng be au tif ul fee lin g and loo ks
th at he ha s ne ve r he ard th isfac e. She su dd en ly re ali ze s
so rt of mu sic .
MONICA (co nt'
You ne ve r he ard it be fo re, d)
did yo u?
No.

PAUL

ml
(CONTINUED)

':l:.r.

\vVl~T.Ll'tU~J

PAUL (cont'd)
(walks a little
and she watches him
strangely; then he comes
back to her)
You told me you trust me. I trust you,
Monica. Soon you will say good nignt - and
when you wake up tomorrow, I'll be gone (takes her hand,
with much feeling)
You won't tell anybody I was here.
Not your husband - not your maid .
Nobody I
(she looks at him
incredulously
and his voice
is urgent)
Please. Promise me.
Before she can answer, the doorbell rings sh'J.rply from
the hallway and he starts. They look at each other.
The bell rings sh~rply again, then there is a knocking
and a man's voice shouts from outside:
Mrs. Jameson!

VOIGE
Police!

PAUL
(as she ri s es )
Please.
He we.tches her as she takes a candlestick and goes past
him out through the portiers into hallway. Paul, now
in a dimmer light, slowly reaches in his pocket and
takes out the automatic which he took from Monica's
assailant . He stands holding it, unmoving.
42

INT. F~LLWAY. 1ffiD. SHOT FRONT DOOR as Monica, holding

the candlestick, unlocks the door, and opens it to
reveal two r9.dio C9.r policemen. Tho candles jump in
the wind and bl~w out and the ~oliceman turns on his
flashlight.
POLICEMAN
Excuse me, Mrs. Jameson - we were driving
past on the ro~d below when we saw the
whole house go dark.
MONICA
Yes, the power went off.
POLICEMAN
Guess the lino must have blown down.
Mighty stormy night. Just wanted to
make sure you're all right.

ml

2ND POLICE11AN
We saw in the paper Dr.- Jameson's
out of town - so we thought we
better keep an eye on the house.
(CONTINUED)

42

(CO:NTINUED)

21
MONICA

Thank you.
POLICENIAN

Mind if we tnke a look around the

grounds before we go?
MONICA

Oh, no. Not at all.

Thank you.

Good night.

POLICEMEN
Good night, ma'am.
Monica closes the door against the blustery wind,
hesitates a moment, now in dim light herself - then
goes b9.ck into living room I1~. LIVING ROOM.
Paul has got the other branched
cqndlestick from the table and has set it on the piano
as ~onica enters from the hallway. He stands w~tching
her but she doesn't look ~t him as she sets down her
candlestick and lights the candles again, very tense
and pale. Nervously she goes and sits down at piano,
Paul watching her silently. She begins playing
something strange ::md. restless by DebUSSy. But she
knows Paul's probing gaze is on her and abruptly she
breaks off and rigidly looks at her hands on the
keyboard.

PAUL

(quietly)
Now you're afrpid of me.

MONICA
Yes.
PAUL

Call them back.

They'll be outside.

MONICA
(after a moment)
I can't.
PAUL

(abruptly)
What kind of man 1s your husband?
MONICA
(looks up nt him,
startled)
Very different from you.
PAUL

What is he like?

MONICA
(face pale, voice low)
He's Q very fine man. A wonderful man.
When my fat her was killed he saved my life
ml

(0(H.TrrTi\TTT1:i'!'rl'

43

22

(CONTINUED)
PAUL
(startled, as if
it brought up some
evil memory he wants
to keep out of mind)
Your father was murdered?
MONICA
(shakes head,
near tears)
An accident. He was everything in
the world to me - I didn't want to live.
PAUL
(baffled)
And this doctor - he made you want
to live?
MONICA
Yes.

PAUL
(very puzzled)
How?

MONICA
With his mind I
(seeing his confused
expression she speaks
with intensity, as
if defending her
husband against a
man who stands for
the physical world)
He's a great man I He not only saved my
life - he's saved thousands of people.
But how?

PAUL

MONICA
(with intAnsity)
By being human! He knows wh~t goes on
inside a human being. A human being is
a strange thing - I told you. Do I
know everything that goes on inside ~?
Do you know what goes on inside you?
PAUL
Sure I know myself.
doctor.

don't need any

MONICA
(looks at him)
I wonder

PAUL
(a little defiantly)
You don't know anything about me.
ml

(CONTINUED)

43

(CONTI1TUED)

23

MONICA
I wond er why I'm curio us.
PAUL
(shar ply,
touch ing his foreh ead)
Peop le like me can' t affo rd to
get sick here . That 's for rich peop le.
~o

~.mNI CA

you think rich peop le don' t suffe r?

PAUL
They 're not hung ry.
MONICA
touch ed, look s
at him, seein g deep er)
Were you hung ry tonig ht?
(sudde~ly

Yes.

PAUL

MONICA
(afte r a moment)
I'm sorry .
(look s at him frank ly)
Do you need money?
Not frC?m you.

PAUL

MONICA
Why not from me?
I don' t know.

PAUL

MONICA
(watc hing his
frow ning face)
I'm afra id I've been stup id. You' re
very tired . Why don' t you lie
down and rest?
PAUL
(look s at her stran gely )
I'd like to hear some more musi c.
With out a word she begin s to play again . Paul sits down
on a divan near pian o, and afte r a moment lean
on
the pillo ws, lulle d by the unac custo med luxu rys ofback
the
soft couc h. Moni ca k8ep s glan cing at him, play
more
and more soft ly. Fina lly she stODS and loak s ating
him.
He does n't move, he is aslee p.
Slow ly she gets up from
the piano and moves over to the diva n -

ml

44

CLOSE SHOT as she looks down at him. He is sleeping

peacefully like a child. She just whispers:

24

MONICA
Paul.
But he doesn't stir.
45

FULL SHOT as Monica blows out all but one candle, goes
over to another sofa and curls up on it, watching the
sleeping man with a strange brilliance in her eyes DIS.r30LVE

46

A FORK IN THE ROAD near the Jameson estate.

Just
before daybreak. There are the headlights of an
approaching motor car and in their sweeping glow we
see t~o policemen come up on the road from opposite
sides, out of darkness. They wait as the car drives
in and stops. It is a police car, with two officers
besides the driver. We see the two men come around
out of the glare of headl:Lghts and talk in low murmurs
with the three in the car. Then two men get out of the
car, the two who hav~ been searching all night climb
in, and as the car turns and goes back the way it came,
we see the two replacements move off the road in
opposite directions, :J,.nto darkness, to continue the
search for the escaped criminal.

47

FULL SHOT - INT. LIVING HOOM - JAMESON HOUSE. A

grandfather clock is slowly striking four in the hallway.
Paul stirs and slowly sits up on the divan as he wakes.
He looks over at the other sofa where Monica is curled
u? asleep. RealiZing his danger he stealthily gets up
and tiptoes over to the couch -

48

tillAR SiOT - MONICA asleen on the couch as he tiptoes in

and looks down at her for a moment. He Whispers to find
out if she is sleeping soundly, almost a caress in his
voice:
PAUT.J
Monica.
She doesn't stir, breathing softly as a child, and he
takes the burning candle from the candlestick and
tiptoes stealthily into the hall LAP

49

rb

INT. MONICA'S B3DROOM. Now his manner is that of a

thief as he looks swiftly around the charmingly furnished
and extremely feminine room. He goes straight to a chest
of drawers near the bed.

50

CLOSE SHOT PAUL as he sortly opens the top drawer.

Doing so, he rinds himself lookin~ straight into the
photographed race or a man whom we recognize as Dr.
Erik Jameson, a cabinet photograph in a silver frame
on the chest of drawers. For a long moment he stares
at that face. Then, tearing his gaze t::\Y..lY, he opens
tho drawer and looks in. Lirts out a woman's purse,
looks at it, then 9uts it back again and softly closes
drawer. Sees a door le~ding to an adjoining bedroom
and goes to it .

51

INT. DR. JAMESON'S BEDROOM as Paul steps in stealthily

8.nd looks around. The room is in complete contrast
with the femininity of Monica's room - very masculine
and plain, with many books, even piled on the bedside
table. Paul's practised eye immediately spots a small
wall safe nOQr the bed and he goes straight to it -

52

CLOSE SHOT PAUL as he swiftly examinos the wall safe,

puts his ear to it and deftly turns the combination,
listening ror the inaudible click of tho tumblers as
they fall. Arter a rew twirls it clicks and he opens
it nnd looks in -

53

CLQBE ~HOT INTO THE S1ffiLL SAFE - All we see is some

manuscripts piled on top of a small metal cash box.
Paul's hand takes ut tho top manuscript curiously -

INSERT

MSS

We see tho title of the paper

Dr. Jameson has been writing,
penned in n. strong clear masculine
hand: \I'rEE SECRET ~:SLF. II And
perhaps wocan glimpse the first
few lines of the monograph which
commences: liThe lr-J.st thing any
man will ever know is himself.
Wo contain all evil and all good,
3.nd our destinies nro determined
by forgotten circumstances which
shape our eax>ly lives l1

54

rb

VERY CLOSE SHOIT PAUL as he frowns at the manuscript.

It m3.kes no sonso to him, yet in some wny it disturbs

him. H:J shoves it b'lc1c imr.ntientlv with the other
manuscripts and draws out tho ~~:mall cash box, opens it
and discovers it contains q considerable sum of money.
At first he takes out the m101o sh88.f of bills, then
on second thought he poels off a few bills and puts the
rest back, as if for some strange reason he did not want
to be indebted to this unknown doctor. Then he puts
back the box the way he found it, closes the small round
door of the safe ,qnd twirls the knob, locking it.

vi)

SHOOTING R.oro ss a ches t of draw ers. Paul ) ~5

start ing swif tly from the room , sees a phot
ph frame
in f.g. and comes over to it, near CAMBRA. ogra
Look
at the
phot o a mome nt, then quic kly remo ves it from the s fram
and only then do we see it is a photo graph of Mon ica, e
the twin of the photo in her room . He puts it in his
pock et and goes quic ldy from the room .
.!:"ULL :-:5tlU'l'

LAP
56

INT. LIVING ROOM. The gray ligh t of fored awn

g
in the window now beh:l.nd Moni ca who is sleep ingis oncomin
the
couc h. Some night mare out of the past has crep into
her dream ing mind and she murm urs as if calli ng t for
help ,
IIPat herl Fath er!\! There is the sound of the fron t door
closi ng out in the hallw ay and she wake ns and sits up
with a frigh tene d expr essio n, stil l oppr essed by
dream . Then ever ythin g comes beck to her and she her
at the divan as she calls out in a terri fied voic e:look s
1'1ONICA

Paul t
57

CLOSE

58

CLOSE SHOT rJDNICA as she gets up hurr iedly and call s

look ing arou nd, poss essed again by her stran ge obse
ssive
fear .

2~-rOT DIVAN -

Paul t

but no sign of Paul .

Paul t

NONICA

She runs out into the hall , fran tical ly L..I\.P

59

60

rb

LONG SHOT OF 'rIB OCEAN BEACH as seen from a high er poin

t
throu gh early morn ing mist , hard ly dayl ight yet. As
mist
break s in the f.g. we see the smal l figur e
man
walk ing sWif tly alon~ the edge of the ocean of- aPaul
tryin g to sk:i.r t the r08.d . Tho gale has blow n itse lfis
out
durin g the nigh t R.nd now it is stil l, but the surf poun
angr ily and la8h'3 8 the 8n.ndy shor e, drovm ing all soun ds
Sudd enly we see a girl emor~e from tho low mist and ds.
frant icR.l ly along the stran d afte r the man. They [U'Srun
both tiny figu res 5_n ths distn nce) the girl runn ing
mR.dly, her thin dress blow ing out behin d her. EVid
the man hear s hGr when she is only a f~w yard s away ently
and
turns ~bruptly, Rnd shG runs into his arms CLOSE rrwo S':roT as Paul folds the torri fied girl
his
arms , thei r voic es hard ly audi ble above the roar in
of
the
surf .

MONICA
( ('.ryin g)
Paul t Paul t Don' t leave - I'm
frigh tene d!
Paul draw s her close and kisse s hGr RS wo

PAD'R mTrr

27

FADE IN
61

62

THE BEACH - DAY. The storm has blown itself out and now
the sun is rising beautifully over the foaming oceano"
Monica has taken off her shoes and stockings, Paul has
done likewise, rolling up his trousers to his knees.
They are running along the" edge of the strand, playing
tag with the breakers which come foaming in on their legs.
Monica ia laughing like a child.. Paul h8.s forgotten all
about his danger. They are like two gay, happy childreno
She runs down as a wave recedes and a big breaker comes
foaming in.. Paul runs down and snatches her up in his
arms as the breaker boils around his thighs, wetting his
trousers.. Then he sets her down and she dashes along the
wet sand again, Paul runs after her, catches her and
taking her hand leads her up away from the water to a
tlat rock. Seagulls circle and scream overhead.
NEAR SHOT as she sits down. They have left shoes and
stockings beside the rock, and now they sit down and put
them on again, their faces s.o l'Ttl 1 of happiness they have
no need to talk.
LAP

63

......
INTo PINE WOOD beside the sea.. The early sun sends a
beautiful yellow level light through the pines that edge
the sea - the pine wocd being betwe'3n the sea and the
Jameson estate.. The storm has left traces in its wake an uprooted tree here and there.. Monica and Paul come
up hand in hand from the sea and they stop beside a
fallen tree. She is tired and she sits down on the trunk,
Paul WEt tching har with love. She is radiantly happy 8.S
she looks around at this bright nev! vlorld, lis tening to
th0 birds singing in the trees.
"

I.1ONICA
(radiantly)
It's a wonderful world. At
night, when it gets dark, the
world seems to shrink in and get
small, finally it's just the house
you live in, and it presses in
and frightens you. Then when the
sun comes it goes flying out and
out, and you see how big and
wondartul the vfl~ole world is.
PAUL
(smiling U little)
You don't seem like the same
girl you were last night.
MONICA
Ifm not, I'm notl
(looks at him,
laughing)
And you're not the same mun.

...

ph

(CONTINUED)

PAUL

Me?
MONICA
tjoyously)
Yes, you. Last night you had
such a long ~ace, and you were
worrying about something - I
began to think you didn't know
hovl to laugh I
PAUL
It's been a long time since I
laughed.
MONICA
Why?
PAUL
Well, I never saw anyone like
you before.
MONICA
(teasingly)
Do you think I'm so ~unny?
PAUL
~tha t wa;r.
(~umbling ~or words)

I didn't mean i

It's like - like meeting a

world.

di~f6rent

MONICA
(laughs)
So that's it -- ~~o worlds meet1
(teasingly)
And one world tried to run away
from the other world1 VfhX?
PAUL

I don't belong to your world.

MONICA
(lau.;hs)
You make it sound very exclusive.
PAUL

It is. Don't you feel very

different ~rom me?
MONICA
(shakes hur head)
No ..

ph

(smiling)
I'll tell you a secret sometim0s I feel I don't belong
to the world I live in. It's
too 3afe and careful - and I
don't lUre to be safe and
careful. I'm like my father he used to say that when you got
too safe and comfortable, you
were dead.
(CONTINUED)

uv

~(JUl\ J'l'IN UED)

What did he do?

PAUL

MONICA
(wi th inten se
reme mber ed love)
He loved life - and he loved
musi c. He was a viol inis t.
(tend erly)
A very good one. It was my
ambi tion to become a good enou gh
pian ist to accom pany him.
PAUL

(vGry inter ested )

Did your moth er play 1 too?
HONICA
(shak es her head )
I canl t remem ber her - She died
when I was born .
PAUL

(with a curio us
expr essio n whic h
we will unde rstan d
later )
He marr ied again ?

MONICA
(shak es her head ,
her eyes faraw a.y now)
He alwa ys said I looke d like her
and as I grew up I tried to
take her placG . He was such a
wond erful , bril lian t man.
(wa tchin g

PAUL
her

somb rely)
Now I see it again .
What ?

HONICA
PAUL

The way you looke d last nigh t.

IWNIGA

(in a stran ge tone)

Last nigh t I felt he was ther e.
Itls a terri ble feeli ng - to
think that someone you love more
than your own life is near you and you canl t reach him.
He is silen tl watc hing her.

ph

She look s off at the sea.

MONICA (cont 1d)

When I saw you in the hous e, I
thou ght for a moment you were
Paul Mart in -

(CONTINUED)

63 (CONTINUED)

PAUL

(puzzled)
Somebody you liked?
MONICA
We both liked him very much He was a wonderful mechanico
Paul looks curious and she goes on.
MONICA (cont'd)
You see my father loved flying he had his own airplane. I had
a premonition that last day, I
begged him not to take off. I
knew he was tired - after his
concert in Paris.
(hClr voice grows
lifeless)
When the plane caught fire and
crashed, Paul was injured too but he pulled my father out of
the wreckage'(in a cold, dead voice)
It was to) late.
P.AUL

And you?
MONICA
(in a cold voice)
I was brought home - to a
sanitarium.
Paul looks at her lifeless face and sits down beside her
and puts his arm around her comfortingly, his voice
tender as to a child.
PAUL
You loved this Paul Martin?
IJIONICA
(shakes her head)
I lovod my father.
There
wasn't room for anyone else.
PAUL

I opened a door in your house

last night. Keep it closed,
Monica ...
(kisses her, seeing
the tears in her eyes)
Now I'm going - Don't say
anything.
At the moment he starts we hear a woman's voice call
through the wood:
Mrs.. Jameson!
ph

IRENE'S VOICE

Paul, startled, wheels around -

31

64

SHOT PAST lViONICA i'I{D PAUL. We see Irone come hurrying

through the pine wood, nGar enough to have soon Puul's
kiss. She calls again, coming from tho direction of the
house.
IRENE
Mrs. J!3.mesonl

Who

?AUL
(swiftly undor his
breath as Monica rises)
is it?
MONICA

Irene.
65

WIDE ANGLE as the maid comes hurrying in, taking a quick

inquisi tivo look at Paul. Irone is breathless aIHi oven
more agitated then she should be undor> the circUl"flstancos a fact which 'we will un1erstand later. She is near
thirty, plain faced and yut vi.:Jry attractivc, with very
strRnge intelligont eyos.
IRENE
(breathlessly}
Oh, I W8S so frightonoo, l\lrs. Jam880n!
I foun~ tho front door stanrling
open o.nd no one in tho hous 0 !

l'WNICA
I wont down to the bCD-ch, Irene.
How is your mothor?
IRENE
(taking inquisitive
looks at ?aul)
Much better - thank you.
She looks ~irectly at Faul an~ hor inquisitiveness
compels him to make some oxplanation. HG turns to Monica.
PAUT.J
Perhaps you'd better tell your
maid who I axil
.
(to Irene)
Paul r,.in.rtin.
lWNICA
(8.stoun,jod but rt)cov8ring)
Oh, yes. Mr. M~rtin is an old
friend of my father, Irena. He
arrived last night - shortly
after youl~ left for town.
IRElq"E

(sizing up Pnul)
I'm so sorry - I dirln't prepRre
tho guest roar:]" Lrs. Jnnoson
cm

(CONTINUED)

65

(CONTINUED)

32

MONICA
(smiles)
It didn't matter. We sat up
all night and talked about old
times. I couldn't sleep on
account of the storm.
IRE:NE

( subtly)
I'm sure Dr. Jameson will be
very happy you weren't aloneo
Oh, your dress is all wet. You
must change -- You'll catch cold~
Monica takes Paul's arm and they head for the house, the
maid following and giving Paul a very close scrutiny as
we DISSOLVE
66

TNT. LIVIUG ROOM.

The maid, Irene, in her cap a.nd apron,
is cleaning the room. ObViously something on her mind.
She moves to a table by a window which looks out on the
flower garden. Takes some wilted flowers from the vase
on the table. Then something in the ~aI'den catehes he~
eye 8.nd she peers out through the lace curtain -

67

CLOSE SHOT IRENE as shedl"'>Bws back the curtain furtively

and watches out. ThrouRhthe window we see Monica and
Paul in the garden. The window is closed and we cannot
hear their voices but Monica is ver-y- animated as she
cuts flowers, !illnding them to Paul' whose arms are full.
He is strangely happy and carefree too. Irene slowly
drons the curtain and turns away, thinking CAl'/IERf\. PULLS Bl-l.CK

8.S S he goes over to the telephone on

the table, then pieks U'O the receiver to dial a numbGr.
Changes her mind and puts back the receiver. Then goes
back to the window, peering out -

68

EXT. GARDEN. Monica selects more flowers from the

luxuriant garden which has been wrecked by the storm.
She has changed to a charming frock.

IiIONICA
I don't like to pick my flowers
But the storm has ruined these.
Poor things.
Paul takes several flowers she hands him and looks off

past camera, his attention caught by 69

pI'

WINDOW TO LIVING ROmi. All we see is the lace curtain

drop back again, hiding Irene's face behind it.

70

CLOSE TWO SHOT. Monica straightens up with

onothcr florlo!', notices his fRce ~n:1 csks:

MONICA
What's the matter?
PAUL
I donlt think your maid likes me.

EONICA
(lightly)
Viell why on earth did you tell
her you were Paul Nartin?
PAU!;
(shrugs)
Whnt did you want ne to say?

UOHICA.
vfny not the truth?

Oh look here I s a (iouble-petalled one!

PAUL

(looking at flower)
VVouldn't tLla t be hard to explain?
MONICA
(bC'"'lding again)
Why? Yc . l hear<i rde scream an(1
came to nr;y help. I asked you to
relllain because I was afraid to be
alone. M1Rtts wrong with that?
(cutting a flower)
Did you ever see flowers planted
so crazily? I lil.<.:e to mix all
kinds together.
PAUL
(taking flower)
It I S funny - you haven't asked
my na.me.

MONICA
I'n not going to ask any more
questions. Last nlght you did.n' t
want to tell me .. and lIm not
going to ask.
(gleefully)
youtre Paul Martin. I like itl
(laughs Fmd shal{es
her finger at him)
But youlve got to tell that story
to my husban'1. I 'Won I t lie to
him. Donlt l1rop the flowers!
PAUL
(ir alarm)
won It 0e ~:1ere!
(looks at her,
shocked) .
Monica - I don't un(jers tant) you.
I

(C GJlfT DHJSD )

em

34

70 (CONT INUED)

]),i0NICA
I don't understand you, either.

At that moment the garden door is opened and Irene

calls out:

IRENE
Mrs. JamesonJ
MONICA
Yes?
IRENE
You really must come in and lie
down for a while. Dr. Jameson
will scold me for taking bad
care of you.
MONIOA
You're a tyrant. All right I'm coming.
She goes to the door, Paul following with the flowers.
71

INT. LIVING ROOM as they enter, Irene holding the door

open.
MONICA
Take the flowers and put them
everyNhere around the house,
Irene. I want to see the rooms
gayl
IRENE
Yes,

m~'am.

(taking flowers
from Paul)
Now you go upstairs and lie down.
I've fixed your room and drawn
the curtains.

Irene goes out of the room to get a vase and r!onica puts
a flower in the buttonhole of Paul's coat lapel. She is
still in her gay, strange mood.
MONICA
I'm sure I can't sleep, but I'll
try. What about you?
PAUL
(looks at her gravely)
I'm going, Monica.
:MONICA

But you can'tJ

pr

(C ONT INUED )

35
71

(COlij'1'INUED)

PAUL
(looks her straight
in the eye)
I told you I don't belong to your
world. It's very dangerous for me.
MONICA

(comes close to
him, ef:l.rnestly)
Paul. Listen to me. I know
you're in trouble. I don't know
what it is. I'm not going to ask
you. But you're safe here. You
must stay.
PAUL

There's only one thing 1 1 m afraid

of now.
L'iONICA
What?
PAUJ-J

You.
Irene re-enters, tho flowers in a big vase.
IREHE
Now you cone along, l\'lrs. JRmeson.
I'll giv"e you an alcohol rub so
you can go to sleep.
She waits very pointedly at the door nnd Monica has to
go, but the look in her eyes is telling P~ul thnt he
must not leA-va the house while she sleeps. We stny on
P~l.Ul for a moment as he watches after her broodingly.
1'h8n he gets a cit}o.rette from a box on tho table und
lights it nervously, feeling himself in n dangorous
quand8.ry. Suddenly the liGhts come on. He switchE::s
them off, then steps into 72

TNT. LIVIHG ROOM. Puul comes in and turns off the l8.lups
which are burning. See s the cnbinet rD.clio uno. s tGpS
over and snaps it on. Tho light glows. ~uickly he
snaps it off, lrlaktis su:c-c he is alon(j, thon opens the
panol and takes out one of the bulbs and puts it behind
something on thu mantul. Switches on radio aguin and
tho light dabS not como on. He puffs his cigaretto, his
brow puckered, than reaches in his pocket an6 pulls out
the mon'Jy which he abstractad from Dr. Jameson's wall
saf0. Looks at it, frowning, coming to D. (~ecision -

73

INT. MONICA'S B:t;DROOM. Monica is a.lr6f1dy in bed, her

face on thE; pilla",!, her bare back ani'[ shoulders exposed
as the maid rubs her 'J'vi th alcohol vigorously.
r!IONICA

Be c.'.-l.reful, Ir(me - Not so hare:!..

(CONTINUED)

73

36

(COHTINULD)
IRENE
(abru ptly)
Wher e's his lugga ge?
Mr. Mart in'?
bring any.

MONICA.

On, he didn 't

IRENE
(rubb ing roug hly
again )
I dlrln 't see his CBr in the garag e,
eithe r.
No, he 1:'ialked..

MONICA

Irene stops rubb ing in her aston ishrn ent.

IRLNE
Isn' t there some thing stran ge
abou t him?
r,IONICA
Oh yes, he's very stran ge.
ahea: !, ,10n' t stop .

G.o

Irene rubs again .

IRL:NE
The latch is brok en on the kitch en
windo w. Did you notic e?
lfiONICA
(iupe rturb llbly )
Yes, some body broke in Irene drops the alcoh ol bott le with a bang .
I\'iOHICA (con t' d.)
You seen very nervo us, Irene .
IREHE
(reri evin g the
bo-ct le)
Oh, no ma'am - no. Did you
c8.ll the polic e?
I:IOHICi\
No, I felt quite safe with br.
Mart in. That 's enou gh, Irene .
Irene remo ves the alcoh ol and. dr~ws the cove rlet
Moni ca who turns over nov! on her back , drow sily. over
IRENE
Are you sure you' re all righ t,
:m!'~ I ~'f
You li'lUst be tired ..
(CONTIN1fD)

.(,:)

\ V Vl\IT

.Ll~

U.t!J.LJ )

MONICA

3?

(dreamily)
I'm happy. I'm sure I'm going
to have a wonderful sleep -- it
hasn't happened for years.
Irene, putting things away at the chest of drawers
sUddenly hears something, which we don't hear, in the
adjoining bedroom. She cocks her head, listening, then
looks quickly at Monica, who has closed her eyes. Then
Irene goes out into hall and closes the door very
softly, her manner very suspicious.

pr

74

INT. DR. JA>mSON'S BEDROOM. CLOSE SHOT - Paul at the

wall aafe beside the doctor's bed. He already has
opened it. Now he takes the purloined money from his
pocket and slips it into the safe, locks the safe and
twirls the knob. At that moment we see in b.?,. what
he does not see - the door to hallway opens stealthily
just wide enough to reveal Irene's peeping face. P~ul
thinks for a swift second, then gets the photograph of
}~nica from his pocket -

75

CLOSEUP IRE~lli'S F~CE - peeping through the door ajar.

She is watching:

76

PAUL FROM HER ANGLE as he goes to the dresser and puts

I'10nica's photograph back in the silver frame.

77

CiJUSEUP IREiffi as she closes the door softly, shutting

her from view.

78

CLOSE SECT PAUL as he finishes fixing frame and the

sharp click of the door clos ing :1.s heard. He whirls
round and looks at~

79

CLOSED HALL DOOR from his 8ngle.

,80

CLOSE SHOT PAUL as he reacts, wondering what the sound

was, then starts from bedroom furtively -

81

INT. HALDNAY DCf.;'rNS'llA IRS Irene comes down the ste.irway,

carrying some things. 'He hear 8. door open and close
above and :Paul c ames downstaJ.rs nonchalantly as Irene
opens the front door End looks out. Paul takes' one
l'ook at her back I:md decides on something. Goes over
toward her -

82

CLOSE TWO SHOT - Paul comes up just behind Irene who is

peering out into the driveway with a frowning face.
PJ,UL
(nonchalantly)
Looking for somebody?
(CONTINUED)

82

38

(COJ'TTINUED)
IRENE

(not polite with him

now that they are alone)
The newspaper.

Oh.

PAUL
What time does it come?
IR~;NE

It should be here now.

PAUL
How's your mother, Irene?
IREJ\TE

Better, thank you.

PAUL
(cAsually)
Was it your mother you kissed
last night in the drivew8y?
Irene turns and stDres into his f8.ce, startled.
eyes are smiling ironicslly.
Oh, never mind.

His

P..b,UL (cont' d)
I won't tell.
IRENE

"-/ha t are you doing here '?

PAUL
Jus t . visi ting.
IRENE

(looking him
straight in the eye)
Who are you?

PAUL

Didn't Mrs. Jameson tell you?

IRENE
You know she!s ill} don't you?
PAUL
know she W&S ill, yes. I
wonder why you left her alone
here last night.
I

She is silent Rnd he gets a flash.

PAUL (cont'd)
Did you ask her not to tell
Dr. Jameson about it?

(startled)
Did she tell you that?
em

(COW~INUED)

~v.

mHyoe we nave something

IRENE
(defiantly)
I don't trust you, Fr. Martin.

DU~

in common.

PtUL
(smiles)
I donlt trust you, Irene.
There is the sound of 8. car coming up the driveway end
both look out the door PAS'I' ChI.l;ERA to see:
83

RBVFRSE - l\!!ED. LGl'J(' SHOlr. The mai Iman t s ra ttletrap

Pard stops at a mailbox set on a post at the edge of
tJ:".s eri VC','l8y .He ~veVC;i3 8n'.:1. c911s out 88 he puts the
newspapex' end some mail in the box.
EJ\IUIEAN

Morning, Iliss Foffman.

Ho d.rives off 84

MSD. TNO SHOT IN PRON'I' :.JOORWAY.

Both Paul and Irene

pre lookin;s at the mpilbox. They glance at e8ch other
and then both start simultaneously across the porch -

85

Rl~;VER.sE - SHOOTING Pl-S'J' VilILBOX in :f.g. we see them

both w81king swiftly townrd CM:F:RA. Finally it becomes
a race 8S both breek into n run.
P8ul e8sily
outdistances her end close in CAMERA he seizes the
things from the m,9ilb~x, keeping the newspaper AS he
politely offers Irene, who comes up breathlessly, the
letters. She looks at him d.efinntly, then holds out
her hand.

IRENE
I'll take the paper, too.
PAUL
(amiably)
;.:3:"3. JpIDeson is s leepinc: - :3he
won't wpht it yet.

He starts toward the porch again and Irene falls in

beside him, her eyes angry at the momentary defeat.
LAP:
86

INSERT

INT. LIVING ROmlI. Paul is sea ted by a window looking

at the newspaper NENSPAPER - In a box on thE; front page we
see a photogr89h of Paul 8nd the caption:
it Paul Legrand. ,/
Under this in blackface
type: It Sta te and local police were pressing
their s8Brch todAy for an escaped convict, who
is believed to be in hiding somewhere in
this area.... if

87

-xv
COSE SHOT - PAUL as he scans the story with out
expr essio n. Beyo nd him we see the maid come
the
room and as she comes over to dust a tabl e, heinto
quie
turns the page and cont inue s to read , as if he h~dn tly
notic ed her. She moves aroun d and afte r a mome nt Tt
switc hes on the radio . Paul hear s the click and spe~
ks
casu ally with out look ing arou nd.
..

PAUL
I don' t think it's work ing.

IRENE
It was all righ t last nigh t
befo re I left .
She comes over to him but he is appa rentl y abso rbed
in
the pape r, turni ng anot her page .
IRE1TE (can t I d)

May I have the news pape r?

PAUL
(care lessl y)
Why are you so inter este d in the news pape r?
IRENE

Beca use you are.

PAUL
(dryl y)
I told you we have some thing in
cornmon.
ffiENE

Are you going to give it to me?

No.

PAUL
IRENE

Supp ose I telep hone for the

polic e?
PAUL
(look s up at
her calm ly)
You think that 's wise ?
(smi les a littl e
at her angr y eyes )
Does a gues t in this hous e rate
a cup of coffe e?
IRKNE

(mal iciou sly)

You want to keep awak e, do you?
PAUL

...

Oh, yes.
(as she stand s there )
Be a good girl , now. Get me a
pot of coff ee.
pI'

(CONT INUED )

She floun ces out into the kitch en. The moment she is
out of sigh t Paul gets up, goes to the firep
,
rump les up the nows paper and touch es a matc hlace
to
it.
As it burn s he gets a ciga rette from the table and
ligh ts it from the same matc h.
88

INT. KITCHEN. Irene fills a china pot with coff ee,

then goes over and insp ects the brok en windo w,
h
is stil l jammed shut with the gard ening tool . whic
She
frow ns, then gets the tray with coffe e cup and the
pot and goes into

89

INT. LIVING ROOM. Paul is watc hing the news pape r burn
to embe rs as Irene ente rs with the tray and stop s shor
t
as she.r each es him, look ing at the last bit of
pape
r
burn ing.
IRENE
Why did you do that?
PAUL

I was cold .. (nods at a

smal l table )
Set it down there .
"-

She puts down the tray and as he comes over to sit down
she conf ronts him accu singl y.
IRENE
You brok e the radia l
PAUL

You ough t to be more frien dly

wi th me, Irene .
IRENE
What were you stea ling in the
doct or's room?
Noth ing.

PAUL

IRENE
vVhat have you got in your pock et?
Oh, this .

PAUL

Take s the autom atic out of his pock et.

IRENE
You' re no frien d of Mrs.
Jame son's .
Oh yes, I am.
are, Irene .
pr

PAUL

I'm not sure you

IRENE
You brok e in the kitch en window last nigh tJ
(C 0 NT Tl\TTmn \

42

89 (CONTINUED)

PAUL
(watching her closely)
Yes -- but somebody else was in
the house, who had not broken in.
IRENE
(her eyes flicker,
on guard)
Of course. Mrs. Jameson.

No.

PAUL
(very softly, .
watching her eyes)
A man.

She is defiantly silent and he goes on, very qUietly:

PAUL (cont'd)
He wasn't a very good thief -- he
didn't know how to open that wall
safe upstairs. I saw the marks
where he tried to nrv off the lock.
That's what woke Monica -- it was
clUJ:!lsy.
IRENE
I don't know what you're talking about.

PAUL
(takes ca.rtridge
clip from the
automatic and
extends it to
her, ironically)
Don't you 'want to give it back
to your mother?
She is so startled she cannot speak.

PAUL (cont'd)
I told you we have something in
common. But Y9u don't like Mrs.
Jameson -- I doJ That's why
you're going to leave here when
I leave.
IRENE
(looks at him
defiantly)
You can't prove anything.
He looks at her for a moment, then puts the gun back
in his pocket and steps to the telephone, Irene
watching him narrowly.
IRENE
vVhat are you going to do?

pr

(picks up
phone)
Call the police.

(cowr INUED)

89

43

(CONT INUED)
IRENE

(coming toward
him challengingly)
Do you know the number?
PAUL

I'll ask.
IRE:NE

Dial 2477.
PAUL

Thank you.
90

CLOSE ~VO SHOT - as she narrowly watches him dial the

correct nunmer. But just berore there is a response
she pushes down the switch and cuts the connection,
her face pale.
IRENE

(a little desperately)
What is it you want?
PAUL
I want to make sure that Mrs. Jameson
isl10t in danger after I leave.

IRENE

I'll go -- but not with you.

PAUL

'Nhen?
IREN""E

As soon as Dr. Jameson returns ..

PAUL
I can't wait the.t long .
(studies her;
then abruotly)
Vrhy do you dislike her?
IRENE

I don'tJ

PAUL
Oh yes you do. You let a man in this
house last nif-'"ht vlho might he.ve killed
her. No man could talk you into a
thing like that unless you hated her.

Her defiance sUddenly breaks and she begins to cry,

in short angry gasps. Paul grips her arm sternly.
PAUL

'vVhy?
pr

(CONTINUED)

90

(CONTIlWED)
IRENE

Because she makes me feel like

I'm nothing!
(crying angril J
And she's the one who' s reall~T nothing l
She's not even a -- even a wife to Dr.
Jamesonl He's just a slave to her -like mel
T )

PAUL
(in spite of himself)
TifhEt t 's he like ?
IRENE
He's a fool. He won't even look
at ana thor womanJ All he thinks
of is MO'..dea -- riIonieaJ It drives
me erazyJ Why shouldn't she be
beautiful? She was born rieh -she had everythingJ The way she
moves and talks makes me feel like dirtl
PAUL
You mean she's not nice to you?
IRENE
Too nice! ,-She's always giving me
things -- I hate itJ People iike
her think they can bUy you just by
being nice! They make you feel
the7,T own the wo rId - - and you don f t
belong to it! Look at this house,
it's like her face -- books, pictures,
furniture -- it's all Monica, Monica -and all I do is keep it clean -- just
the same way I massage her skin -- to
make her more beautifull But nobody
looks at me!
(beside herself)
~ belong to my world - - but do you
think of me 9 No, it's all Monica,
Honica. She hJ,-pnot:l.zes everyoneJ
You don't even think of yourself,
whoever-'J~ou-a.re -- ~,.outd put us both
in prison -- just to prot6ct Monica!
I --

(brrr-rr -- the
phone rings; she
breaks off)
Both stand frozenly, looking at the telephone which
rings sharply again, like a warning from the outside
vforld. It rings a third time.
PAUL
(curtl'JT)
Answer it!
pr

(CONTINUED)

45

90 (CON TINUE D)

IRENE

(in a froze n whis per,

tryin g to ge t
cont rol of hers elf)
It may be the poli ce.
Answ er i t1

PAUL

She steps over , takes up the telep hone , tryin g to make

her voice norm al and serv ant- like.
IHENE
Dr. Jame son's resid ence
(in the paus e she
Whis pers to paul )
Long dista nce!
(then , her face
ligh ts up wi th
relie f)
Oh, hello , doct or. Yes, this
is Irene She' s sleep ing,
doct or - shal l I wake her?
Oh no, she's qUit e all righ t (with a quic k sidel ong
glan ce at Pa~l she
gets a mali ciou s idea )
- she was up late last nigh t
with your gues t.
Paul mal{es a move bu tshe goes on.
IHENE (c on t ' d)
Oh, you must know him doct or Mr. Mart in. He's righ t here woul d you like to spea k to him?
She hold s the phon e out to Paul trium phan tly and he
to her, want ing to chok e her, but takin g the phon e comes
inste ad, knOWing he must .
PAUL
Yes, how do you do,
Dr. Jame son Yes, Paul Mart in
Yes, it was year s ago - I knew
Moni ca very well Yes - her
fath er No,v ery unex pecte d I thou ght you woul d be here , but
Moni ca made me stay Yes, I
shou ld like very much to meet
you, but I'm afra id (hes itate s, look s
a t Iren e, then
make s a deci sion )
Tomorrow? Very well , doct or I'll stay Good -bye
Ha~lo?

He hang s up the rece iver and Irene look s at him with

a
start led face .
( CON TINUED )

90

(CONTIHUED)
IRENE
(very pale)
You're really Mr. Martin?

PAUL

Why not?
(smiles)
Don't worry, you can leave with
me - I'll keep your secret.
(lights cigarette
as she s tares at
him speechlessly)
Irene, show me the guest room.
I'm going to lie down for a nap.
FADE OUT
FADE IN
91

INT. NONICA'S BEDROOH - DAY. It is late afternoon.

n16 . curtains have been pulled back and the low sun sends
long rays of light into the cool, beautifully furnished
room. Monica, a v. _'apper over her slip, is si tting before
her dressing table while Irene brushes her hair.
IRENE
~
Oh, I forgot to tell you - Dr.
Jameson telephonod while you
were asleep.

ijorncA

(surprised)
Oh, really? Is he all right?
IRBl>TE
Yes, ma' am (brushing;
after a moment)
Ho said to tell you he'd be
home tomorrow. I think he was
worried about you.
~':OlnCA

Oh, he always worries when he's

aVofay.
IREI\TE
(insidiously;
brushing
vigorously)
He vvond8"ed why you were sleeping
so late. I .explained you had
stayed up late with your friend,
Mr. I'flartin.
MONICA

( turns, wi th
naive surprise)
You men tioned Mr. I\jartin?
nd

(CONTINUED)

47

91 (CONTINUED)

IRENE

I had to, ma'am. You soe ho was

righ t tLvre - He. talked wi th
the doc tor.
MONICA
(smiles gaily)
I'd like to have heard it.
IRENE
(subtly;
brushing)
I understood he was an old
friend of your family.
MONICA
(carele ssly)
Paul Martin? Yus, he was a
vory dear friend of my
(stops, refusing
to lot her mind
go back to her
father again)
Oh, I don't want to talk about it.
(changing
subject)
Where is Paul '?
ffiENE

Mr. Mar tin go t up half an hour

ago . He must be somewhere in
the hous0.
MONICA
(shakes her hair
100s8, looking in
the dressing
table mirror)
1hat's onough, Irone.
(gets up gaily as
Irene puts down brush)
Now I've got to choose what I'm
going to wear. You help me She slips her silk-stockinged feet into bedroom sandals
and, drawing tho wrapper about her lovely shoulders, she
goes over and begins opening closet doors, exposing a
wealth of charming dresses. Irene follows obediently
but covertly watches her mistress rather than the clothes~
MONICA (cont1d)
Oh dear - I don't believe I
havu a. thing!

IRENE
(a helpless gesture
at all the dresses and we now understand
her expression)
But Mrs. Jameson ---I
(C ON TlNUED )

48

91 (CONTINUED)
MONICA
(exci tedly)
But they're ~ll for somebody
else. I'm a different me,
Irene - don't you understand?
I've never bought anything for
the me I am today!
(bubbling
with joy)
When you change inside you
ought to change outside.
IRENE

(pulls out a dress l

soverely patient)
Wha t about this?
~lONICA

No, no, no.

(her aeu the ti c eye
catches some
harmony between
the color of the
dress and Irene)
Wait - hold it out. Against
your face.
(claps her hands
with a dazzled smile)
Why it's })erfec t for your
color~ng.
You must have it!

IRENE

But it's new - You hr:\.Ven't worn it!

MONICA
I must have had you in mind when
I got it.
It's just the right
shade. Take it, Irene.
Irene takes the dress from its hanger and goes ovor and
lays it on the bed as M:onica goes searching through her
wealth of dresses. Irene stands back now, watching her.

MONICA (cont'd)
(finally draws out
a simple dress)
Thi s will do.
IRENE
But it's very old.

You never liked

it.

MONICA

like it new.
She tosses off her wrapper and Irene comes over to help
her slip on the dress.
I

IRENE

(helping her)
There's something Itve got to tell
you, Mrs. Jameson - I'm afraid you'll
have to find someone to take my place.
nd

49

91 (CONTIN1JED)

MONICA
(as toni shed )
Irene ! You mean you want to
leave ?
IRElill
(very busy )
I don' t want to, ma'am - but I
must .
MONICA
. (dism ayed )
But why? I thou ght you were
ha.ppy here .
IRE:NE
Oh, you'v e been very kind to me and ther e's no fine r man than
Dr. Jame son. But it's so lone ly
here and ( s tarnmers )
- and my moth er need s me. She' s
ill, you know .
MONICA
But why don' t you bring her
here ? I know ~rik won 't mind and ther e's a very nice apart mon t
over the gara ge.
Irene shak es her head .
MONICA (con t1d)
When did you plan to leave ?
IHENE
As soon as the doc tor re turns .
MONICA
(brus hes the probl em
aside like a child )
You talk it over with Erik .
He'l l chang e your mind for you.
(fas tenin g the
dres s, gay again )
Let' s see how it look s.
Irene watc hes her somb rel:'! as she goes over to the fullleng th mirr or and insp ects hers elf. She is even
more
beau tiful in this plain dark dros s.
MONICA (con t'd)
(eyes
spar lding )
You like it?
IRENE
(cold ly)
Yes, ma'am . Isn' t that the
dres s tho doct or neve r want ed
you to wear ?

l
nd

(CONTINUED)

91

(CONTI1TUED)

MONICA
(a little startled)
Paul Martin liked itl
IRENE
Dr. Jameson says it's dangerous for
you to be reminded of your father.
MONICA
(her eyes dilating)
Hasn't he also told you not to
mention my father?
IRENE
(tenderly and humbly)
I know, ma'am. But I feel so sorry
for you, I can't stand to see you get
these awful spells (goes to her sympathetically)
I was trying to tell you about
that dress without mentioning your
father. Poor dear, I know what a terrible
shock it was for you. You must realize
you're ill. You must be careful. You
mustn't let yourself get excited. I
was uneasy when you chose this dress I know it reminds you of your father.
MONIOA
(c0ntrolltng her
agi tatlon)
Stop it, stop it, Trener

She almost runs out of the room, leaving the hall door
. open, and ~e see her run down the staircase. Irene
watches, unmoving, with a malevolent look of
satisfaction in her eyes 92

INT. LIVING ROOM. Paul, who has had a 'bath and a shave,
looking very refreshed, stands ut the piano idly
picking out a tune with one finger, as Monica's feet
are heard on the stairway and then she almost runs in
from the hallway and stops short, looking for him. As
he straightens un eagerly, she sees him and runs to
him like a terrified child and instinctively he puts
his arms around her, enfolding her protectively as she
cowers against him.
What is it?

PAUL
Monica

what's wrong?

MONICA
(her face pressed against
him, Whispers tensely)
Hold me. Hold me a momentt
PAUL
(murmurs soothingly)
Don't be frightened. Everything's all
right. I'm taking care of you, Monica.
ml

(CONTINUED )

51

PAUL (cont'd)
(reassured, she dr~ws
away from him as he
releases her)
Now tell me, what's the trouble?

MONICA
(looks at him,
her eyes wide)
I don't know - I had a sudden
premonition you were going away.
(he is silEmt)
You're not going to leave me, are you,
Paul?
PAUL
(shakes his head,
evasively)
No.
MONICA
(forces pale smile)
Now I'm all riebt (stands back
from him)
How do you like my dress?
PAUL
(looks at her with
gre~t love in his
eyes)
I like it.
MONICA
(with a sudden
return of her
gaiety, her eyes
sparkling excitedly)
You're exactly like Paul Martinl
You say it the same way he did!
(in a gay mood of
make-believe) ,
Do you remember the time we were staying
at st. Tropez and th~t silly motor~boat
broke down? 'Ve drifted all day - "lnd
you got covered with grease (laughing now)
You got so mad when I made fun of you!
PAUL
(smiling r-t her
extravagant mood)
Did I spank you?
lWNICA
.
You finally jumped out of the boat and
threatened to leave me there. I knew you
were 'fooling. You waded 9.8hore and
c~rried me - so I wouldn't get wet.
Then
(1 aughing)

ml

I ,... f\ i\Tm T 1\TTT1:i'n )

52

MONICA (cont'd)
we had to walk for miles ~long the
shore, ~nd the sun w~s going down
and t t was getting dark (smiling
.
reminisc8ntly)
I was happy that day.
PAUL
(smiling, not wqnting
to break her makebelieve, seeing it
make s he r hap ny )
You almost make me remember it.
110NICA
(eagerly)
Let's go down to the ocean, and
w~tch the sun go down!
PAUL
(grins, agreeing)
Should I put some grease on my face?
MONICA
(laughs)
No, I like it as it is.
They go out very happily 93

INT. HALVWAY. We see them cross the hall, open the

front door and go on. As PRul closes the door behind
them, we 'see Irene standing at the top of the st'lirc8.se,
watching them with a masked expression LAP:

94

SEASHORE AT SUNDOWN. LONG SHOT down at two tiny

figures walking hand in hand along the white thread of
surf. The sea has calmed down now after the storm.
The sky glows with colors ~1.S the disk of the sun dips
out of sight on the far horizon. The wet strin of sqnd
gleams in the reflected light and their small figures
are black against the sheen of light. They move along
idly like two stray children LAP:

95

l
ml

1mAR SHOT - EDGE OF 8~A as they stroll toward CA~mR~.

The spell of the vast beauty is upon them. Monica
picks up. a shell,like a happy child, a.nd shows it to
him. As they come in CLOSE, hand ,in hA.nd, the:T halt
and look off at th~ horizon where the fires of the sun
are dying now (CONTINU~)

g~

53

(CONTII\TUED)
MONICA
It's so peaceful now - it's
hard to believe it was so wild
last night.
PAUL
(completely under
her spell)
This is where I heard you
calling me in the dark - but
our footprints have washed away.

MONICA
(looking out
dreamily over
the sea)
I'love the se3-. It's like me like all of us. You don't know
where a storm comes from, or
where it goes. We never know
anything about ourselves, really we just walk on a narrow edge of
the mind, and if we step off (motions out at the sea)
we'll drown.
PAUL
Not if you have a boat.
MONICA
Yes, that's whn.t we all h8.ve to
have - a boat Unconsciously, she puts her hand on his armo He looks
at her, not trying to understand, just loving the music
of her voice and the delioate ourves of her cheek.

ivIONICA
(strangely)
Why is living so painful?
PAUL
(not understanding
her)
Is it, for you?

MONICA

ml

(looking off)
For everyone. It's a seoret we
all keep from eaoh other.
(with strange
insight 8.S he
w9.tches her, not
understanding)
I think I know - It's beoause
we're all reaohing, reaching
into a dark sea - and we oan
never reaoh what we want.
(5udden~y her voice
is lifeless and she shivers)
Let's go baok - I'm cold.
(r:ONTlNUED)

95

(CO NT I:NUED )
She turns away abruptly f'rom the sea and he follo'''1s her.DIS,SOLVE

96

INT. HALLWAY - JAM~SON HOUSE - ~IGHT. The lights are

turned on and the portieres are drawn across the
archway that leads to the living room from the large
hall. It is early evening. From the living room we
hear a victrola playing a beautiful Strauss waltz. No
voices. Irene comes down the staircase, draws the drape
of' a hall window, then looks toward the living room
. curiously and goes stealthily to the portiers.

97

CLOSE SHOT FROM BEHI~ID IRE1~ as she f'urtively draws

aside a portiere and through the opening we see what
she does - Paul and Monica dancing beautif'ully together-

98

99

INT. LIVING ROOM - VERY CLOSE SHOT on Irene's face

peering through the portieres. She I01}vers the
portiere to a mere crack, just one eye showing through
as she watches;
TWO SHOT - CAMERA SWINGING ON PAUTj AND MONICA as
they dance in complete union and forgetfulness of' time
and space - The record finishes and they stop VERY
NEAR CAMERA, but he doesn't release her, YiThile we hear
the machine changing to another Strauss waltz -

NE.I.I.R

MONICA
(just to breathe
hi:::l name)
Paul.
PAUL
(tenderly, to
hear hers)
Monica.
MONICA
(the music starts
again, but they
don't move)
You're not going away.
Paul looks at her, on the point of lying: but after a
silent struggle with himself he knows he must tell her
the truth, because he loves her so much.

ml

PAUL
Monica - look at me and don't
speak, don't say a thing! I'm a
thief, a fugit1ve! The police are
after me! I've been hiding here using your house! I'm nothing but
a thief - an escaped convict!
(CONTIJ.\TUET) )

'J Q

55

( C0 1:-Tr1' II,rUED )

MONICA
(looking straight in
his face, quietly)
Does it matter, Paul?

PAUL
(h9rshly; thinking
only of her now)
It matters to you, if I'm found herel

MONICA
(her eyes glowing
strangely)
Nothing matters now you've
told me the truthl.
PAUL
(a.lmost angrlly)
But I'm a thiefl I broke into
this house last night - I was
going to steal!

:,TONICA
But you dldn't!
PAUL
~.re

(harshly)
you sure?

MONICA
Oh, yes. Yes.
(suddenly, as he
looks at her
speechlessly)
Are you in danger?
PAUL
The police know I'm somewhere
flround here.

MONICA
How do you know that?
PAUL
It was in the newspaper this morning.

MONICA
Your name is Paul, isn't it?
Yes.

PAUL
Paul Legl-and.

MONICA
(anxiously)
But they'll find you - no
matter where you go~

Not where I
ml

PAUL
to go.

w~nt

(CONTINUED)

99

56

(CON'l'I:[lfJED)
MONICA
Where?

PAUL

France.

MONICA
But how?

PAUL
On a freighter - the Ville
de Bordeaux.
MONICA
But they'll qsk who you are?

PAUL
(shakes he :'ld)
I have friends in the crew. But
it's no use - she sails in the
morning.
She looks at him, with a growing excitement in her face,
8. daring ides. growing in her mind.
Abruptly she goes to
the victrola and shuts it off. He follows her
apprehensively, guessing whqt is in her mind .
J..OO

INT. HALLWAY - CLOSE SHOT FROl'll BERIl\1J) IRENE listening.

Irene, too, is excited and she draws the portiere
wider to see what they are going to do. Through the
parted drapes we see Paul as he catches Monicn's Rrm.
PAUL
I'm not going to leave you

MONICA
My car iJ in the garage.
get itl
No, Monica.

~lone.

Please

PAUL
Nol

MONTCA
(recklessly)
Get itl I'm going with youl
Irene swiftly closes the portieres, blotting the two of
them from our view. Quickly the maid turns and we see
her f8ce in CLO~EUP, filled with hatred. Then CAMERA
PANS on her as she goes quickly up the staircase LAP~

101

ml

EXT. DRIVEWAY IN FRO}~ OF HOUSE - Paul sits behind the

wheel of a roadster, the motor purring. He has on an
overcoat and a felt hqt pulled down over his eyes probqbly borrowed from the doctor's wardrobe. The front
(CONTI~TIJBD)

101

57

(CO N'I'INU ED)

door open s and Moni ca runs 8.cro ss the porc h, clim bs

into
the car besid .e him :3.nd the car pull s out of the
drive way 102

INT. MONICA'S BEDROOM - CLOSE SHOT IRENE look ing

windo w. On the drivewA.y below , we see the car' s out
head light s sweep aroun d throu gh the dsrk ness as it
turns out on the road . Irene turn s away and CA~m
PANS as she goes strai ght to the telep hone besid e RA
Mon ica's bed and dials - She puts a hand kerc hief over
the mout hpiec e of the phon e to alte r her voic e:
IRENE
Polic e? You' re look ing for
an escap ed conv ict? If you' ll
stop all cars comi ng into town
on the shore road , I think you' ll
find him.
She puts back the rece iver, cutti ng the conn
n, and
comes b~ck to the window again , peer ing into ectio
the
dark ness , tryin g to follo w the fain t strea k of the
head light s far down the road as we LAP:

103

CLOSE ~WVING SHOT - MOiUCA' S ROADSTER" PROCESS. Thej_

r
faces '1re dim in the ligh t refle cted from the dash bo8.r
d.
Moni ca 1s stepp ing on the gas, the car going fast er
8.nd
fsste r. Paul st~res strai ght ahen d, wond ering
whqt
he
is going to do abou t Moni ca. Sudd enly, as she make
s q
turn , both reac t, and W8 he8r the brqk es as they
see -

104

LONG SHOT AHEAD - head light s of four or five halte d

illum inate a white polic e car that is angle d acro ss cars
to
bloc k the highw ay.

105

CLOSE TWO SHOT - PROCESS. Moni ca stops her car behi

nd
the car just ahea d. She sees Paul take the autom ati.c
from his pock et.
No, Paul l

N~I

MONICA
Give it to met

He does n't but she reach es out and take s it, slipp ing
it
into the pock et of her spor ts coat 106

WIDE ANGLE - Honi ca's roa.d ster, as we see a coup le

polic e come walk ing back and peer at Moni ca and the of
besid e her, whos e hat is pulle d down over his eyes man
MONICA
I'm Mrs. Jame sono

ml

(CONTINUED )

106

58

(COl\TTI1\TT.TED)
POLICEMAN

Oh, good even ing, Mrs. Jame son.

Say, that 's a funny thing - we
just stopp ed the doct or's car
comi n' the otpe r way.
MONICA
(coo l, desp ite
her agita tion)
My husba nd?
POLICEMAN
Yeah - Here he comes now (call s rmt as
head light s of
anoth er car grow
brigh t on him and
the car comes alon gside )
Hey, Dr. Jame son!
A man climb s out of the rear of the limo usine a man
whom, even in this dim ligh t, we recog nize as , the
disti ngui shed -look ing doct or of our open ing, and come
s
over to' Mon ica's car 107

NEKR

SHOT takin g in Moni ca, the man besid e her, the

doct or as he comes in nn Mon ica's side , and the two
polic emen just behin d him -

DR. JAMESON
Moni ca! How are you, my dear ?
(she just looks
at him)
I belie ve you' re as ~urprised to
see me as I am to see you. I was
worr ied abou t you - That 's why I
decid ed to come home tonig ht and
not wait till tomo rrow.
(peer s at the man
besid e her with a
frien dly smile )
Is this Mr. Mart in?
(reac hes in to shake
hand s geni ally)
How do you do, Mr. Mart in - I've
heard a lot of fine thing s abou t
you from my wife .
PAUL

(shak ing hand s)

,Thank you, doct or.
The polic e reac t sharp ly at the sound of that Fren ch
acce nt and peer at Paul , but Dr. Jame son seem s not to
notic e them . He is UR~~ to havin g auth ority hims
elf.
DR. JAMESON
(to Paul)
You' re not leavi ng us, are you?
ml

(CONTINUED )

10"0/

59

(CONTINUED)
MONICA
(quickly)
No, we were just driving.

DR. JAMESON
(to policeman who is
at his elbow, still
curious)
.
Is it all right to turn around,
officer?
POLICEMAN
Sure, doctor.

DR. JAMESON
Well, young lady, you can drive
me home (calls to chauffeur
in limousine)
Go ahead, John. I'll ride with
Mrs. Jameson ~nd Mr. Martin.

As he goes around to Paul's side 108

FULL SHOT taking in both cars and pqrt of the blockade.

The limousine drives off as Monica turns her roadster
and follows back toward home -

109

CLOSE SHOT - TH~ TwO ?OlliIGEMRN looking curiously after

the roadster, which we can h89..r in gear, as it pulls
away and the sound of its motor dies out -

FADE OUT

FADE IN
110

IN'r. LIVING ROm,! OF JA~r;;::SON HOUSE. All the lights are

turned on" and the victrola is going full force. playing
a wild tempestuous dance by St. Saens. Irene is
stretched out on the divan smoking a cigarette. All at
once the doorbell rings sharply in the hallway and. she
jumps up like a shot, runs over and turns off the
victrola~
The doorbell rings again and she starts for
the hallway, realizes she has a cigarette burning in
her fingers, squeezes it out against a piece of
furni ture and throws it in the fireplace.

111

INT. BALV.':AY. The bell rings again as Irene comes

hurrying in from the living room to the door. But as
she takes hold of the latch she is suddenly cautious
and she calls through the door:
\]1'ho is it?

IR:2:NE

VOICE
Dr. Jameson, IreneJ
Her expression changes to eagerness and she unbolts the
door and swings it wide, then stands riveted to tne spot
as Monica and Palll enter, follmJed by Dr. Jameson.
112

CLOSEUP IiBNE.
what she sees.

She is speechless, unable to believe

D~. JAMESON'S VOICE

(cheerily)
Well, Irene, what did you think
we were - thieves?

113

CLOSE GROUP SHOT as Irene tries to regain control of

herself.
IJ.~ENE

Oh - oh, no, Doctor - I didn't

expect you homG tonight.
DR.
(as she takes
I didn't expect it
this morning. &tt
away earli:.-;r ..

JA rJI~SON
his coat and hat)
myself when I telephoned
I found I could get

L-lli1fS

(wi tll a cove rt

glance at Paul who
stands waiting
uncertainly)
Oh, I'm very glad to see you.
Di-l. JAtnSOl'J

Don't stand on cuI'emony, T1r. Martin.

Make yourself at home - You're one of
us.
(CONTINUED )

61

113(CON'I'INUSD)
CHf.. UFFEUR
(enta~ing

at that
moment with the
doctor's bags)
Shall I put them in your room, sir?
DR. JAM~SON

Yes, John -.
(as John crosses
to stairway)
Oh, I noticed ~rs. Jameson's car
is aL~ost out of gas. You'd better
get it filled up.
CHAUFFEUH
(turns on stairway)
Yes, sir. Would you mind if I stayed
in town tonight? I could bring it
back in the morning.
DR.

Just as you please.

JAH='~SON

CHP.JFFEUH

Thank you, sir.

He goes on upstairs as"Lrel1e closes the doop, and Paul
and ~tJ:onica exchange an uneasy look, The doctor 1S
entirely unsuspicious 8.S he turns to ~10nica and. liVE; can
see he is deGply Jevoted to hoI'.
DR. IN<tsSON
You look a li.ttle tired, my dear.
Don't you want to lie down and
rest before dinner?
<;:TONICA

(norvously)
011 no, I'm qUite all right, 3rik.
DR. JAilIESON

(taking Paul's arm hospitably)

Well, what do you think, r'lr. Martin? Has
she changed much? It's boen a long timo.
PAUL
(as they go into
living room)
She looks very wello
Irene watches as they vanish into

114

ft

INT. LIVING HOOM. As thoy ontoI' there is a great sense

of strain betw00n ~~onicn and Paul, but the doctor seems
entirely unaware of it as he goes on talking sorenely
and hospitably. Monica is obsessed with the idea of how
tb get Paul out of the hous~ so he can reach the harborbut so far she has no idea how to accomplish it.
(C OU 'rINU~D )

62

114( CONTINUED)
DR .. JAMESON

I'm very happy ror this unexpected

visit. I've been wanting to meet
you for years -- You were one
person Monica always talked about.
But we'd lost all trace of you.
My letters were returned. Sit dovm,
Mr. Martin.
PAUL
Thank you, sir.
,
(sits as ,the doctor
strikes a match and
stoops to light fire
which is laid)
DR. JAMESON

That's one reason I came back

earlier - I wanted to have more
time to talk with you. It's a
pleasant surprise to hear you
speak English so well. Monica
hadn't told me t~~t. I have a
hard time with French.
PAUL
I've been in this co~try for for some time.
DR. JAMESON

(straightens
up, smiling)
Why didn't you get in touch with
us sooner?
PAUL
(hesitating,
fe- ring questions)
We live in different worlds,doctor.
DR. JAMESON

It's true my wife and I live in a

little world of our own. But old
friends never disturb it - and we
have so few that we treasure them.
MONICA
(cuts in nervously)
But he didn't know where to find
us, Erik. It was just by accident
(Erik looks at her
and she goes on
hurriedly)
Paul's going back to France.
(CONTINUED)

.
p

114

(CONTINUED)

63
DR. JAMESON
Well, it's fortunate he did find
us (offers cigarette
box to Paul)
Cigarette, Mr. Martin?
(laughs as Paul
takes one)
Here, I'm not going to be so
formal - I'm going to call you
Paul. D'you mind?

PAUL
Not at all, sir.
Jameson puts the box back on the table without taking
a cigarette for himself. Paul lights his cigarette.
Jameson alone is quite at ease. Monica speaks to break
the strained silence.
MONICA
How did your meeting go, Erik?
DR. JAHESON
(sits down in
front of fire)
"Oh, I got into quite an argument
with old Dr. Carlson, as I told
you I would. Psychologists like
Carlson regard me as a heretic (half-amused)
They think the human mind is
something tangible - just another
organ like the stomach. They
have no doubts, they believe they
know everything about the mind (smiles)
Myself, I know very little.
(to Paul,
touching his
forehead)
This is the last mystery, Paul.
We're just at the edge of knOWing
something about it. You can see
liVing cell or an atom with a
microscope, but the only instrument
we have to study the mind with is the
mind itself. That's like lifting
yourself by your own boot straps.
(chuckles)
Carlson calls me a sniritualist.
Well, perhaps I am. "\Vhat do you
think, Monica?

MONICA
I think it's a compliment.
rb

(CONTI:NUED)

64
114

( CONTINUED)

DR. JAMESON
(smiles)
You said something that interested
me, Paul. You said we live in
different worlds.
(looks at him
keenly)
You divide the world into two
parts - rich and poor, don't you?
PAUL
W11.Y not?

DR. JAMESON
Everyone divides the world into
two parts. A tall man believes
the two parts are tall and short.
A homely woman thinks it's beautiful
and ugly. I'm no different - I
divide the world into spiritual and
material. Rich-and-poor means
nothing to me, because our greatest
artists and thinkers have been poor
men. They weren't rich in wealth they wore rich in spirit. They're
the only givers. There I s my two "'worlds, Paul - the spiritual is
the world that ~ives, and the
material is the world that takes.
It's an endless conflict - in the
world and in each one of us -(touches his
own heart)
The spirit is trying to lift up
life, and the material is trying to
pull it down. If the spirit doesn't
win we die. Nations. Civilization
itself.
(smiles)
But I'm an incurabl.e optimist - I
believe the spiritual world will
always win in the end. What do you
think, Paul?

PA.UL

Do you call a man who is hungry a

materialist?
DR. JAMESON
Avory good question. That's the
problem of the world - the spirit
cannot exist without the physical.
vVhat we have to learn is that the
sole purpose of materialism is the
spirit. If we forget that we
destroy ourselves.

l
rb

(CONTINUED)

114

(CONTINUED)

65

PAUL
This house - do you need so much
for your work?
DR. JAMESON
(smiles)
I can see why you like him, Monica
- he goes straight to the point.
(then to Paul)
You're quite right, I don't need all
this for my work. I told you it's
a conflict - we're all imprisoned
by things wo need -- and love.
(glances at
Monica)
The hungry man is a prisoner of his
stomach. These things are my way of
being hungry.
(gets up
wFllking)
Take Monica, she needs a piano. And
a very good one - an expensive one~
I need innumerable books - expensive
books - and paintings that cost a
great deal because they'ro rare. I
haven't enough ~ I'm alwnys hungry.
(smiles)
That's the human weakness, Paul we're all insatiably hungry. But
also it loads to all human greatness.
(stops and looks
~
at him quietly)
Haven't you a secret hunger, Paul?

Yes.
W~at

is it?

DR. JAMESON
Can I help you?

PAUL
(looks at him a
moment sombrely,
then shakes his
head)
No.
The telephone rings and Monica jumps up, startled, but
Dr 9 Ja.meson, who is nearer phone, starts for it, his
voice calm and un~uffled.
DR. JANESON
Never mind, my dear.

rb

(CONTINUED)

66

114 (CONTINUED)

As Paul and Monica look at each other tensely, Irene,

coming hurriedly to answer the phone, stops short in
the archway, seeing Dr. Jameson lift up the receiver.

DR. JAMESON (cont'd)

(into phone)
Dr. Jameson speaking Somebody
telephone from here? Oh," I'm sure
not. Just a moment, Inspector.
(turns very calmly
to Monica who
stands watching
him tensely)
It's very peculiar. Did anyone telephone
police hendquarters from here, darling?
~J1ONICA

No.
DR. JA.MESON
(looks at the maid
who is standing
rigidly in the
arc:1way)
Irene?
No, doctor.

IRENE

DR. JAriIESOH
(into phone, making
light of it)
I'm afraid you've made a mistake,
Inspector, in tracing the call.
It wasn't from here Oh, no
trouble -- Good night.
(hangs up phone
cheerily)
~m1at about dinner, Irene?
I'm sure
we're all famished.
It's
115

re~dy,

IRENE
doctor.

CLOSE SHOT INTO PAUL'S FACE - behind him we see Jameson

waiting and Monica going to his side, to accompany him
into the dining room. The doctor turns and calls to
Paul whose tight face expresses a turmoil of conflicting
thoughts.
DR. JAMESON
Come on, Paul - Let's be a couple
of materialists -(as Paul rouses,
and gets up, he
laughs)
This is one hunger Irene can satisfy
for us.
As they go into dining room --

LAP;

116

INT. DINING HOOI;,I. Monica, Paul Ei.nd the: doctor seated

at the dinins table, finishing dinner. Irene is
serving dessert Rnd coffee. This room like the rest
of the house is furnished with exquisite simplicity.
Monica and Paul are obviously under a strain, but
Jameson is perfectly at ease, very entertaining
and cheerful. His inner strength and magnetism seem
to give a warmth to the whole room.
DR. JI\MESON
ii1e all have a secret ambi tion.
Now me, I should like to have been
a novelist. I'm always trying to
see things through other people1s
eyes. ltd like to get inside your
mind, Paul, and see the world the
way you see it - I could learn a
lot.
IRENE

(serving him coffee)

Excuse me, doctor, I meant to
tell you - the lock is broken
on a kitchen window. I think
you ougtt to look at it.
DR. J.AMESON
(looks up 8t her,
his thouGhts
interrupted)
Very well, Irene. Later (then goes on,
to Paul)
Monica would like to have been
a concert pianist. Tell me~
Paul, what would you like to be?

P.li".UL
(in a low voice)
Anything I'm not.
DR. JAMESON
(teasingly)
Pure escape.
IRENE
(busy a t table)
Excuse me, doctor, but did .
1~s. Jameson tell you I'm going
to leave?
(he looks at her
in surprise)
She told me to take it up with
you.
DR. JAMESON
I thought you were very
attached to us, Irene

.
nun

(CONTINUED)

o'j

llfJ

6B

(CONTIl-WED)
IRENE
(looks straight
at him Vvl th
intense devotion)
Yes} sir} I sm. But-DR. JAMESON
(interrupts her ,
his voice kindly
and understanding)
I know something's worrying you.
I saw it the moment I returned when you opened the door.
IRENE
(forced to speak
in front of Monical
grabbing at a straw)
Yes} sir} I - I know it was
wrong for me to lee.ve Mrs.
Jameson alone IBst n:'i.cht.
:GR. JAMESON

(astounded)
You weren't here?
MONICA
(qu.icldy" a
Ii ttle guiltily)
Don't blame her , Erik - I let
her go home} hBr mother was ill.
DR. JAMESON
But you know I never want you to
be alone} my dear. Irene knows it
too.

IRENE
But she wasn't alone l doctor R~. Martin was here.
Jameson conceals his astonishment and passes it off
very quietly.
DR. JAMESON
Oh , I see. Of course. No more
coffee , Irene. That's all.
We'll talk about it tomorrow.
He stirs lllS coffsE: thoughtfully F'S Irene goes' out ..
nlen with calm dignity he continu03 hiS interruptod
train of thought.

(CONTINuED)

rum

116

:mm

(CONTINUED)

DR. JAMESON
Don't think I was blaming you,
Pa.ul, when I said "pure escape ll
We're all trying to escape from
something. But it's a very
dangerous thing to try to change
one's environment - or to chan;e
anyone else's enviro~ment. We're
like plants or trees - if we're
transplanted to a different
climate we might die. Oh l some
of us, you or I, are strong
enough to survive. But not
everybody.
(his grave eyes
rest for a moment
on r.~onic8 who
is lookinr,:.; at
her plate)
Have a cigarette, Paul.
(Paul takes one
from the box on the
table and offers
him the box l but
he shakes
his head)
Thank you, no - I don't smoke.
(lights cigarette
for Paull Bnd then
continues very calmly)
Sometimes it's the new environment
that's in danger - snd not the
man who mOV8S into it. His life
may be so strong th8t in the new
environment he becomes a monster (smi les as Paul
lool.cs a t him
quickly)
I'm thinking of a curious
biological experiment a friend
of mine made. He was living in
your country - in Sologne. A
place of lakes B.nd ri vers - you
must know it.
(Peul nods)
There WE,r'O m8ny kinds of fish but none of the species we call
in America the catfish. My
friend imported a few and put
them in the streams. Instead of
dying out l they multiplied
abnormally - and not only that l
they became monsters - grew to
four times their natural. size
and devoured all the other fish.
MONICA
(very pale l abruptly)
Paul isn't interested in science,
Erik.
( C Ol'JTI NUED )

'/U

116 (CONTINUED)
DR. JAMESON
I'm sorry, dear.
MONICA
(rises abruptly)
Let's go in the living room.
DR. JAr.1ESON
(both men rising)
Certainly.
.

Monica goes out swiftly and the men follow her. The
door opens softly and we see Irene looking in from the
kitchen on their backs as they exit.
LAP
117

INT. LIVING ROOM. Monica is at the piano, playing

rather nervously. Dr. Jameson sits watching her and
listening. Paul stands near fireplRce with a
perplexed look on his face. There is a growing tension
in the atmosphere. Paul glances at a clock on the
mantel - it is n auarter past - then he looks at the
doctor, then at Monica. Monica stops playing abruptly.
Go on, dear

DR. JAMESON
tha t 's 10 ve ly.

MONICA
(looks at him,
her manner
strained)
You must be tired, Erik.
dri ving today.

So much

DR. JAMESON
Oh, not at all. But you look
tired, m~ dear - I think you'd
better turn in. I'll sit up
for a while - I want to talk
with Paul.
PAUL
(abruptly)
If you'll excuse me, doctor I'm going to take a walk.
MONICA
(gets up quickly)
It is close in here. Shall I
take-you for a drive, Paul?
PAUL
If the doctor doesn't mind.

n:ss

DR. JAMESON
(to Monica,
indulgently)
You forget John has taken your
car into town - he won't return
until morning.
(CONTINUED)

'71

117 (CON'l'INUED)
MOtTICA
I can drive the big car.

DR. JAMESON
(gets up hosp itabl y)
I'll drive it for you. Where
woul d you like to go, Paul?
PAUL

Oh, I don' t care abou t driv ing.

I was going for a walk .

DR. JAMESON
(plea .sant ly)
Well , I'll walk with you.
MONICA
(the air is elec tric)
I'd rathe r you'd stay here , Erik .

DR. JAMESON
Of cour se, dear (smi les to Paul )
You see? She does n't want us to
leave the hous e. Sit down.
But it is Moni ca who sits down, the two men rema in
stand ing.

MONICA
I'm afrai d, Eric , that Paul will
have to leave befo re it gets too
late. He didn 't plan on stayi ng
tonig ht - did you, Paul?

PAUL

(look s stra ight

at her)
I've chRn ged my mind .
(then forci ng a
more casu al
tonG as he turns
to Jame son)
You see, doct or, I have n"'t seen
Moni ca for so many years it's
like meet ing a new perso n. We
have many thing s to talk abou t.

DR. JAMESON
(smil e s)
WhatJ - you have n't talke d
your selve s out yet?
PAUL

mss

(look ing at Moni ca)

I've hard ly told her anyth ing
abou t myse lf yet - I mean thing s
th~t havp happ ened to me, since
I last s.~V her.

(CONTINUED)

..L.l. (

'--'v...: .L.!.'~

Ul!.U

':";;:i.

JA~'IJ..~;jON

72

Please go ahead.
I'm very
intereste~ myselr.
)\lONICA
(quickly)
Erik. Remember you're
practically a stranger to Paul.
DR. JAMESON
I don't reel that at all. I feel
I know him very well.
Please
finish that nocturne, my dear it's beautiful.

Monica plays, her mind only half on the music, while

Paul moves around looking at objects with the same
inattention. Paul stops in front of an old pair or
antique rapiers hung on the wall, looking at them but
hardly seeing them.
118

!'!l"3::D CLOSE SEOT PAUL as he idly fingers the rapiers,

tarnished by time, to feel if the point is sharp Jameson, his hands behind his back, moves in casually,
just behind him --

119

CLOSE SHOT MONICA playing at piano and looking off at:

120

THE TWO MEN from her angle, looking at the old rapiers.
Jameson reaches up and unhooks one from its hanging --

121

CLOSE SHO'r "WlTICA as she s tops playing, watching them

uneasily.

122

TH3.EE SHOT.
Jameson is showing Paul the old rapier, his
manner casual and offhand.
DR. JA1\mSON
It's not really a weapon, Paul
they're antiq~es. We don't have
any weapons in this house -(smiles)
In this day and age we don't have
to defend oux' homes wi th pt~rsonal
bravery. We have tho police all
around us.
(very amused as he
pokes at the air with
the old sword)
In the olj days every man was a
man of action -- he carried one of
these foolish things at his belt.
Nowadays ":; merely pick up the
telephone. Perhaps we're becoming
decadent.
.

ft

PAUL
(watching him coldly)
A man still has to defend himself,
Dr. Jameson.
(cONTINT"m)

122

73

(CONTINUED)

DR. JAMESON

(lightly)
Oh, but Dot with weapons, surely.
PA"iJL

(coldly)
. . y hy not?
DR. JAMJ:SON

(smiles)
Because we pay taxes.
PAUL

I don't get you.

Drt. JAM:3:S0N

(shrugs)
Taxes protect property - protect
people. EV<;:'lrything is or3anized.
Life is secure.
PAUL
Monica risss from the piano and stands watching them
tensely.
DR. JAUZSON
from any physical attack.
I lmow we still have the danger
of our own destinies inside us.
I

~ean

PAUL
(coldly)
don 't::nena that. Are you safe?
DR.

Of course.
Am I safe?

JAM~SON

PAUL

DR. JAM:SSON

(smiles)
I hope so.
nONICA

(imvardly
agi ta tad)
Erik, please don't talk so
strangely. You know we "want
Ps.ul to be safe.
(looks straight
at Paul)
He isJ

DR. JAMESON

Of course, J.ear -- but suppose

I took it into my hoad to attack
him with this silly anti~le?
ft

(CON':rINU"m)

74

122 (CONT INUED)

MONICA
(startled
as Paul watches
Eric narrowly
vVha t :!E'or?

DR. JAMESON
(makine; light
of it)
Don't take it seriously, Monica
- but I could invent a score of
fantastic reasons. I might
become possessed of a weird
idea that hetd come here to
steal something - something
very precious to me.
(laughs as he
'looks frankly
at Paul)
What would you do in that case,
Paul?
PAUL
I'd defend myself.
DR. JAMESON
How?
Paul just reaches up and takes down the other antique,
as Monica freezes, watching them. But the doctor
laughs, and it seems to be merely a. game from his
manner.
DR. JAMESON
Hol On guard, is it?
(backs off,
trying to strike
a pose with
the sword"
as if :playing
a game)
This is the first time in my
life I've ever had one of these
toys in my hand. I don't know
how to use it.
PAUL
(watching him
like a hawk)
Neither do I.
DR. J A1'IES ON
(lightly)
You hear that, Monica? That
makes us even.

II

MONICA
(terribly agitated)
Erikl For heaven's sake, stop
this fantastic gamel
js

(CONTINUED)

75

122 (COWrINUED)

DR. JAMESON
(smiling as the
two weapons cross)
Look at Paull He's taking it
seriously. He has imagination,
Monica - he knows that men
haventt changed much in three
hundred years1
MONICA
(frantically as
the swords thrust
and parry)
Erik 1 Stop,
DR. JAMESON
Don't be worried, darling it's just a game. Keep back
- give us room.
(with a laughing
expression
to Paul)
Watch out, Paul. Now we're
rivals. Wait a minute - we
have to have something to fight
about. Vrhat was it in the
sixteenth century? Always a
woman, wasn't it? Monica, you
can play the part. Just imagine
we're fighting for your love.

MONICA
But they go on with their dangerous game" which has
suddenly become a very serious matter - as they move
around for an advantage, their blades clashing clumsily 123

CLOSE SHOT MONICA - a frenzy of speechless fear in her

C ounte nance

124

THREE SHOT
They seem to be evenly rna tched and both
are holding their ground.
O'

DR. J AlvIES ON
Come on, Aeerrdl
Paul stops, thunderstruck, and lowers his blade 125

CLOSEUP MONICA., She is rooted to the spot,. stunned.

126

CLOSE SHOT PAUL as he looks speechlessly at:

127

CLOSE SHOT JAThffiSON.

quietly.

He keeps his sword up as he speaks

DR. JAMESON
I saw the newspaper this morning,
I never forget a face.

128

TlffiEE SHOT as Paul and Monica stare at him

thunderstruck. Jameson is very quiet, no longer
pretending anything as he watches Paul.

76

PAUL
(angrily accusing,
his eyes dangerous)
You knew who I was all the timet
vVhy do you play this game?
DR. JAMESON

(quietly)
I'm not sure it is a game. You're
a dangerous man.
MONICA
(terribly agitated)
No, he's E:,9.11 He's not Erik!
PAUL
Yes, Monica - I amI Now I amI
(looks withhatred at
Jameson who
is suddenly
to him a symbol
of an antagonistic
class - banks i
police, comfort
and the like) .
I'm dangerous because it's the
only way of defending nlyself.
You're not fair, you people.
You have everything - all you
have to do is pick up a telephone,
as you said yourself, and everyone
comes running to protect you! Even
this crazy game is unfair - If I
killed you they'd hang me for it But if you kill me what ,happens?
Nothing 1 The give you a meda11
(angrily)
But no'JI: I don t t care - I'm not
afraid. You make a joke - you
. said we were fighting for Monical
Well, we are! Me, lIm not joking!
With a sudden fury he raises his weapon and starts at
the doctor, who parries with his own weapon. But now
Paul is clearly the. stronger and he forces Jameson back
as Monica cries out MONIOA
Paull

~1

(CONTINUED)

77

128 ( CO~~ INUED )

Jameson , backing , trips on the rug and , catching hold of

a light chair 1 and} turning to see Paul advancing on him,
he flings the chair with all his might , fighting for his
life now. The chair hits Paul and the rusty rapier goes
flying out of his hand. Instantly the doctor rushes at
him but Monica with a cry runs in and confronts him ,
covering Paul with her body as she almost screams at her
suddenly halted husband.

MONICA
Don't1
129

CLOSE. THREE SHOT as Jameson looks at her queerly and

lowers his sword. Monica is very pale , her back close
against Paul, protecting him.

DR. JAMESON
Don't be frightened , Monica it's all right.
(lowers his
weapon qUietly)
I'm afraid I'm foolish - I've been
behaving like a twenty-year-old
lover (a ..2i tter smile
touches his eyes)
I must be my age Sit down,
Paul. Sit down , MonieR. De
must all lmderstand each other.
And he walks over , picking up Paul's fallen weapon on
. the way, and hangs them both back on the wall where they
belong. Monica and Paul sit down , their expressions
tense , watching Jameson. The doctor turns to face them,
after hanging up the weapons, with a bleak smile.

DR. JAMESON
( ve ry quie t 1 Y )
After alI, we are in the twentieth
century. I'm guilty of archaic
thinking. It's been a long time
since men used these (indicates rapiers)
They belong to the age when a
wife was a husband's property.
Women have grown UP, Paul, as we
have - as I thought I had. They're
free. They belong to themselves
first , as every human being must.
And the very essence of freedom is
choice - we can choose what we
want in life.
(meditates a moment
calmly)
I know what you want, Paul. You
'want freedom - and Honica
0

PAUL
)
The same thing you want.
(gru.L~fly

(CONTINUED)

129 (CONTINUED)

. 78

DR. Jl: N!ESON

Oh, I have freedom.

I have a
fairly clear conscience and
money - and the man who
possesses those has freedom.
What I want is my work and by Gh~, t I mean the chance
to discover all the truth that
I can find in me - and I also
want, not Monica, but Monica's
happiness.
(looks at Monica
tenderly)
You've been happy here, haven't
. you, my dear?

MONICA
{presses her
hands to her
. head, distraught)
Yes, I've been perfectly happy.
But what is awful is to know
that 1 1 11 be always perfectly
happy - year after year, until
1 1 m old and still perfectly
happy (gets up, w~lking
agitatedly)
You don't know what's inside me,
Erik - sometimes I donlt want
to be happy.
It's not because
I'm good- I don't auffer because
I see other people suffer - I
don't want to be poor and have
terrible things happen to me just
because o~her people are that way.
No, 1 1 m not Good. 1 1 m probably
selfish - I donlt understand it
but I find myself wishing an
earthquake or some awful catastrophe
will happen - I'd like to find
myself even walking a road, alone,
and begging for sOllllithing to eat (looks at Paul)
- or l'n.aybe stealing what I want.
(-Chen to Erik
who listens with
profound attention)
It's wrong for a human being to
have as much attention and
kindness as I have - Everyone
worrying about me and thinking
of my slightest need - Whether
I've slept well or whether I
haven't - ~bether I've eaten or
not eaten. Like being the center
of a little world.
It's wrong,
Erik - it isn't real.
I'm not
living!
(almost accusingly)
Are you happy, Erik?

(CONTINUED)

79

129 (CONTINUED)

DR. JAMESON
I was.

MONICA
Because you've been living - you
were worrying about me.
You had
someone to give your life to.
I
can't be worried about you You're strong, you're never ill,
you're a great man, you really
donlt need anyone. All you need
is someone to love and take care of:
(almost pleading)
Don't you understand, Erik? It's
hard to love a great man.
(very agitated)
I know you don't want me to talk
about my father, but I must because he was a wonderful
musician but not a great man as
you are - he was weak. He was
like a child, I could worry about
him all the time - He'd even
forget. to eat if I wouldnlt make
him eat. Held get Wildly happy
or terribly sad - and ~hen he was
sad I could comfort him - as if
he were my own child ( strangely)
And yet I was only a girl.
You
talk about happiness, Erik, but
do you know what it means?
SometiJiles it means to be unhappy.
(with sudden
strength, as if
her" course were
revealed to her
at last)
Perhaps I donlt love Paul as T
love you, Erik - but I'm not
going to stay in this house.
1 1 m going with him!
~

And she almost runs from the room as Jameson rises with
an agonized plea in his call.
DR. JMTESON
Monical
130

INT. HALLWAY.
Irene is lis tening behind the half clos ed
portieres as Monica comes running through.
Irene starts
gUiltily, but-Monica catches her arm, hardly noticing
that the maid was eavesdropping~
Irene!

MONICA
Help me pack a bag!

She goes right on up the stairs and Irene follows her -

131

INT. LIVING ROOM. Jameson still stands riveted to

the spot, looking at the portieres where Monica
vanished. Paul is on his feet, watching Jameson.
Finally the doctor turns to him, getting control of
himself, but his voice strained in its quietness.

80

DR. JAMESON
Sit down, Paul. There are some
other things you've got to know
I'm going to tell you everything.
132

INT. MONICA'S BEDROOM. Clothes are strewn around the

brightly-lighted room while Monica, in a tempest of
excitement, is trying to pack a bag, with Irene's help,
and doing it very ineffectually. In contrast with the
earlier dressing scene, Monica is no longer wondering
which things to choose. She is taking only the simplest
things and thrOWing everything else that Irene brings
her aside.
MONICA
(feverishly
tossing things
aside)
Not that. No. No. No, Irene.
I can't take much. Just the
simplest things IHENE
(putting things
in the bag)
What about Dr. Jameson?
MONICA
(very bUSy)
What do you mean?
IRENE
(straightena
up defiantly)
How can you leave a man like
him for a cornman thief?
MONICA
(startled,
looks at her)
Don't be impertinent, Irone.
(very quietly)
Erik has his work and his books He doesn't need me.
IRENE
(thrOWing caution
to the winds)
I'm sure he doesn't. He'll have
me to take care of him.

mss

She stops helping Monica and sits down on the edge of the
bed defiantly. Monica looks at her queerly for a moment,
beginning to understand something she has never
understood and then goes on packing by herself.
,
.
(CONTINUED)

132 (CONTINUED)

MONICA
(off handedly)
Irene, you we re Erik.~ oS ~- ni.lrs e
at the hospital before I married
him, weren!t yo~?
......

IRENE
(with an
insolent manner)
I was.

MONICA
You're very devoted to him,
aren!t you.
IRENE
I think it's outrageous that
he gave up his practice. For you.
MONICA
(straightens up
and looks at
her curiously;
very calm in
her surprise)
TIfuy youtre in love with him.
IRENE
(gets up,
defiantly)
I can!t tell you how glad I am
that you know it!
:MONICA
You must be very happy I!m
leaving. I wondered.
IRENE
(eyes flashing)
Did you also wonder how that
thief got in this house last night?

MONICA
( sharply)
You mean Mr. Martin?
IRENE
I mean the thief I let in the
front door - after you!d gone
to bed Monica is startled.
IRENE (conttd)
I waited
till Dr. Jameson was away - I
didn't want him to get hurt!

I hoped held kill you.

rm

MONICA
(looks at her
revolted)
You hate me that much, do you.

( CO NT Il'JUED )

81

82

IRENE
I'm not ashamed of itl
MONICA
(disgus ted,
very quietly)
I am! No wonder I felt afraid
in "this house. I couldn't
understand it - I felt afraid
until Paul came. To be near him
was like feeling well again after
being ill a long time (coldly)
You may go, Irene. I'll finish
packing myself.
Irene just looks at her contemptuously and then goes to
the door, but turns for a last fling~
IRENE
You are ill! You'll always be
ill! --You III ruin any man you
ever touch - even this thief
you're go ing with!
MONICA
(angrily,
almost frightened)
That's enough!
IRENE
I could have given Erik children,
a. real life, a home - and not
this madhouse he's-living in!
Monica stands speechless and unnerved, as Irene vanishes
out the door triumphantly 133

rm

INT. LIVING ROOM. Paul sits rigidly listening to Jameson

who stands before him talking his whole heart out.
DP.. J"Ul1ESON
I've told you her ear17f life,
because I want you to understand
the responsibility you're
undertaking, Paul. Monica was an
intense, spoiled, highly-gifted
girl, utterly beautiful and
enchanting - and utterly devoted
to her father, who was not only a
remarkable musician but a brilliant,
fascinating man. Without knowing it,
she had taken the place of her
mother, whom she'd never known It
was that intense kind of love. If
her father hadn't been sUddenly
killed, she would naturally have
transferred that love to some young
man - and developed into a normal
happy woman. But instead her life
stopped - she was in love with a
ghost,
(CONTINUED)

133 (CONTINUED)

83
JA1~SON

(cont'd)
(very quietly as if
it hurt him to tell it)
For three years after her father's
death, Monica was insane.
DR.

PAUL
(after a stunned moment)
That's how you met her?
DR. JP,J,!JESON
(nods slowly)
I was in charge of the asylum
where she was confined. I fell
in love with her - it seemed that
if I couldn't cure her m whole
life would be worth nothlng. She
was in love with a ghost that
wouldn't die - and I finally
realized the only way I could cure
her was to give that'ghost a living
reality and a name. That.s what I
am - a ghost. That's what I became,
because I loved h-er (Paul listens with dread)
That's why we live here like ghosts,
without servants - because that's
the only way she can go on living.
That.s why I write - I gave up all
active work, so she won't be alone.
(checks Paul, strong
in his love for Monica)
Oh, don't think I regret it.
Sometimes adversity is the greatest
good luck. By what seemed a
sacrifice of m:-r work I found my
real work. By having to write I
had to think clearly - and I began
for the first tiwB to understand a
few things about the mind (touches his forehead)
Instead of a few patients, my clinic
now is the world.

PAUL
If you know so much about people,
what about this nurse - Irene?
DR. JAMESON
We all make mistakes, Paul - I
didn't realize how serious it
livas until you told me.
(quietly)
.
I can protect Monica from Irene but what about you?

PAUL
(just as quietly)
I love her

..

So do I.
rm

DR. JlFESOH
You think that's enough?

(CON1' INUED)

84

133 (CONTINUED)
PAUL

If two peop le love each othe r,

yes.
DR. JAHESON
(qui etly)
She' s real ly not in love with
you, Paul - she' s in love with
adve nture . It's part of her
illne ss - she alwa ys want s to
escap e from real ity. You' re a
sort of ghos t too, in her mind~
Yout re the illus ion of escap e
and adve nture e You' re surro unde d
by dang er PAUL

That 's no illus ion.

DR. JAMESON
But you don' t want dang er, you
want to escap e too. You want
secu rity.

Sure I do.

PAUL

And I'll find itt

DR. JAMESON
I belie ve you will - beca use of
Moni ca. And when you find it,
you 'll lose her.
(dryl y)
I'm more of an adve nture r than
you are.
PAUL

(wi th a scor nful

gest ure)
In this hous e?
DR. JAI'.JIESON
(touc hes his head )
In this hous e, Paul . The most
dang erou s adve nture s are here
in the mind . It's a big darlc
hous e to go in to - It's full
of mon sters , and you can get
lost . It's not alwa ys easy to
find your way out agai n -

ph

He brea ks off~ seein g Moni ca ente r hurr iedly throu gh

port ieres from the hall , draw ing on her glov es. Paul the
gets to his feet - both men look ing at her. She is
agi tated from her enco unte r vlith Irene , her
feve rishl j
brig ht. Irene appe ars in n~rrow open ing betweyes
een
the
port ieres , and stand s watchinr,::; her from behi nd, not
ente ring the room . The~e is a fear ful tens ion in the
atmo sphe re as Moni ca look s at them both , then
to
Jame son and puts her arms arou nd him and kisse sgoes
him,
as
a daug hter woul d.

134

CLOSEUP PAUL wa tching with tormented eyes.

135

CLOSE TilO SHOT - Monica and Jameson. There are tears in

her eyes as she looks at him deeply, and there is only
tenderness, no reproach, in his eyes as he looks at her
with deep love.

MONICA
(whispers)
Thank you, Erik - for everything.
DR. JAMESON
(very low)
Thank you, darling - for having
given me so much happiness -

MONICA
(in a lovi,
frightened voice)
Am I really ill? Is that why
Itm leaving?
DR. JAMESON

No, you're perfectly all right.

I was your doctor - but now
you're well, you don't need me
any more.
136

THREE SHOT - Paul watching them with that tormented

expression, Irene visible in the narrow gap of the
portieres in the backgroill1d, as if watching to protect
Jameson.
MONICA
Forgive me, Erik - I have no
will. I can't help what I'm
doing - I know it's mad
. DR. JAMESON
(very low)
It's perfectly normal. You've
found someone you need now more
than you need me. I'm sure he's
a good man - If I weren't sure
of that I'd never let you 80.
(turns to Paul calmly)
Where is this ship you're sailing
on?

PAUL
In the harbor.
DR. JANESON
You'd better take ny caro

He steps to him and holds out his hand.

PAUL
Thank you, Jameson.
ph

(CONTINUED)

86

136 (CONTINUED)
DR. JAMESON
(grips his hand)
Take care of her.

PAUL
I will (he looks at Monica
for a silent moment)
Stay with him a moment till
get the car.

She is so full of emotion she can only nod, and abruptly

he starts from the room. Irene has quickly stepped back
behind the portieres as he exits without glancing back.
137

CLOSE ~VO SHOT as Monica and Jameson look at each other,

tears glimmering ,in her eyeso
MONICA
(choking, hardly
able to speak)
Itfs so hard - so hard DR. JAI1ESON
I can see why you trust him.
It's strange, but I trust him
myself There is the sound of the car starting, the motor
suddenly racing - and then th0 sound fades rapidly.
Irene runs from the hallway, in a fury ~
Hefs gonel

IRENE
He's gonel
DR. JAHESON

-IRENE
(runs to him
crazily)
He stole your car! He went off
without herl
(points at Monica)
But Monica has not waited even to hear this. With a cry
she runs out of the room, Jameson following hero Irene
looks after them crnzily and then, as they exit', runs to
the telephone and dials frantically:

ph

IRENE
(on phone)
Police?
Mv name is Irene
Hoffman - 1 fm the maid at Dr.
Jameson!s house. That convict
youfre looking for - yes, that's
his name - he just stole the
doctor's car. Yes, he's heading
for town I

87

138

139

INT. JANSON'S LIMOUSINE - (PROCESS). Paul is

driving with a set ~ifeless face. Sudden headllghts
of another car on hJ.s face as.he makes a turn and he
has to jerk the wheel to miss the car as it whips past
-him, the car lurching.
EXT. GROUNDS OUTSIDE
we seE) Jameson as he
and comes close into
directions anxiously
Monica!

JAMESON HOUSE. In the moonlight

breaks through some thick shrubbery
CAMERA 6alling, looking all
-

DR. JAWi::SON
Monical

140

8HORE ROAD - 1ffiD. LONG SHOT - JA~illSON'S CAR as it swings

around a sharp turn and heads along the shore road toward
town - its headlights knifing the darkness -

141

INT. JA~ffiSON'S CAR - (PROCESS) Paul begins to step on the

gas and the throb of the motor increases its pitch.
Suddenly he reacts, glimpsing:

142

SHOT THROUGH WINDSHIELD - in the bright beam ahead we

see Monica run across the road, vanishing into darkness
again on the seaward side at left -

143

INT. JAMESON'S CAR - CLOSE

brakes and the car skids -

)..44

CAR - as it skids to a stop near CAMERA and Paul jumps

out and runs toward the sea -

145

EWE OF SEA - MED. LONG SHOT MONICA wading almost

s~IOrr1

PAUL as he jams on the

frantically into the calm moonlit sea. Far out in the

harbor we see the tiny lights and silhouette of a small
freighter riding at anchor. The water deepens qUickly
and the next moment Monica is swirm'1ing 146

SHORE ROAD - in the bright beam of the headlights of

Jameson's stopDed car on the road we see the figure of
Jameson as he runs across the road, calling Monica's
name.

147

EDGE OF SEA - SHOOTING ALONG the sandy beach we see Paul

come running straight into CAMERA. He stops short, very
near, and peers around, almost ready to believe the
glimpse he had of the girl was an hallucination. Then
he hears Jameson's voice calling and looks seaward -

148

LONG SHOT oUlr OVER SEA from Paul's angle. In the

moonlight we can dimly see Monica s\virnrning out and out -

,
rb

149

CLOSE

S~OT

PAUL as he reacts, crying out:

88

PAUL
Monica!
Then he tears off his coat and runs into the water _
150

SEA - CLOSE MOVING SHOT MONICA in the water. She is

growing tired and suddenly she stops any effort and goes
under. We hear Paul's voice calling her - CAMERA HOLDS
on the water as Monica comes up and goes under again.
Paul comes swimning in with powerful strokes, looks
around, then dives under and comes up with her in his
arms. He starts swimraing back with the unconscious girlLAP

151

BEACH. Jameson comes running along the sandy strip

as Paul finds a footing and, iJ1ith Monica in his arms,
.wades through the shoaling water.
DR. JMilESOlT
Darling!
PAUL
She's unconscious!
He carries her swiftly up the beach a few yards to where
a lifeguard's boat is beached on the sand, CAMERA
FOLLOWING? Paul lays her carefully on a piece of canvas
which he rips out of the small boat, and Jameson drops
to his knees beside her, chafing her wrists and calling
to her anxiously. Paul remains standing -

152

CLOSE SHOT PAUL looking dovm at:

153

CLOSE SHOT JA~ffiSON'S HEAD bent over Monica's anxiously

as he tries to restore her.

154

THREE SHOT - Paul watching down at the other two.

PAUL
Is she all right?

Only shock.

DR. JAME,C)ON
She'll be all right.

PAUL
I'm going to be a thief for the
last time, Jameson - I'm going to
steal this boat.
DR. JAHESON
(working over
his wife)
Do you think you can make it?

rb

154

89

(CONTINUED)
PAUL
It's the only way I can make it.

He lays hold of the light boat, throws in the oars, and

starts dragging it down the sand to the water's edge.
DH.. JA.rillSON

(never pausing
in his work)
Thank you, Paul.
PAUL'S VOICE
Thank you, sir.
DR. JAMESON

- And good luck!

155

AT WATER'S EDGE. Paul drags the boat into scene, wades

out alongside it, then climbs in and sets his oars. He
looks back toward where he can see Jameson and Monica
but we cannot, and speaks softly PAUL
Good-bye, Monica.
Then he digs in the oars and begins rowing hard out
toward the '-open harbor -

156

BEACH - CLOSE TWO S7-IOT - LOW CAliIERA. As Jameson chafes

Monicars wrists her eyes open and she looks UP at him
as if coming out of a dream. She sighs and a-sense of
peace is in her hardly audible voice MONICA

Oh, Erik.
DR. JAMESON
(tenderly)
.It was just a storm, darling - A
tempest. It's allover now .
He lifts her up and holds her in his arms closely and
his gaze turns to where she is looking - out to the
harbor -

rb

157

VERY LONG SHOT (MINIAT~RE) - Out across the moonlit sea

we can see the tiny freighter riding at anchor and
halfway to her is the small dark blob of the small boat,
rowing, rowing -

158

CLOSE TV10 SHOT. Both Jameson and Monica we. tch silently,
but there is no anguish in her face now. The sto~ is
indeed over DISSOLVE - DAY

159

INT. PRIVATE CHAMBEH OF JUDGE HANDOLPH. CLOSE SHOT FROM

BEHIND JA1ffiSON - who stands at the wide window staring
out at the sunlit sea of early morning. The smoke of
the freighter is dwindling in the distance on the vlide
ocean. CAMERA PULLS BACK SLOWLY AND PANS LIGHTLY TO
TAKE IN Judge Randolph who is watching him with a
meditative expression. Finally Jameson turns away from
the window and looks at the silent judge, breaking the
silence.

DR. JANESON
I told you it was A matter of
justice. I was an accomplice
to his escape. I don't feel
guilty but in the eyes of society
I am.
YE;S,

Erik.

are.

JUDGE RANDOLPH
According to law you

(slowly)
I'm just wondorin~ what a jury
will 8ay.
So am 1.

DR. JAl.132,ON

PADE OUT

rb